PAUL  GERHARDT 
AS  A  HYMN  WRITER 

AND  HIS 

INFLUENCE  ON  ENGLISH 

HYMNODY 


HEWITT 


A  portion  of  the  expense  of  printing  this  thesis  has  been 
borne  by  the  Modern  Language  Club  of  Yale  University 
from  funds  placed  at  its  disposal  by  the  generosity  of  Mr. 
George  E.  Dimock,  of  Elisabeth,  N.  /.,  a  graduate  of  Yale 
in  the  class  of  1874. 


Paul  Gerhardt  as  a  Hymn  Writer 

and  his  Influence  on 

English  Hymnody 


By 
Theodore  Brown  Hewitt,  Ph.D. 


Assistant  Professor  of  German 
Williams  College 


Yale 

\UniverJjtyJ 
Trefs    ' 


New  Haven 

Yale  University  Press 

London:   Humphrey  Milford 

Oxford  University  Press 

Mdccccxviii 


COPYRIGHT,     1918,    BY 
YALE    UNIVERSITY    PRESS 


First  published,  April,  igi8 


TO 
B.    A.    F.    H. 


PREFACE 

Das  deutsche  Lied  1st  einzig, 
Ein  S chats  filr  Geist  und  Herz, 
Gehoben  aus  den  Tiefen, 
Wo  Freude  wohnt  und  Schmerz. 
Kein  andres  Volk  auf  Erden 
Genosz  des  Schicksals  Gunst, 
Soldi  einen  S  chat  2  zu  sammeln, 
Reich  an  Natur  und  Kunst* 

So  far  as  is  known  to  the  writer  of  this  thesis  there  has  appeared  hitherto 
no  attempt  to  treat  comprehensively  and  in  detail  the  subject  of  the  direct 
and  indirect  influence  of  Paul  Gerhardt's  hymns  upon  English  and  American 
sacred  song.  That  there  exists  a  very  real  influence  is  universally  known, 
but  how  widely  it  has  made  itself  felt  is  apparently  a  matter  of  little  concern 
on  the  part  of  many,  because  we  often  find  hymnals  accrediting  a  hymn  to 
the  English  translator  with  no  mention  of  its  original  author.  The  present 
dissertation  has  been  prompted  by  a  desire  to  make  some  contribution  to 
the  subject  of  the  relation  of  English  and  German  hymnody  in  general,  and 
in  particular  to  show  the  great  debt  which  the  hymnody  of  England  and 
America  owes  to  the  poetry  of  Paul  Gerhardt.  It  was  presented  to  the 
Faculty  of  the  Graduate  School  of  Yale  University  in  candidacy  for  the 
degree  of  Doctor  of  Philosophy  in  June,  1917. 

For  great  assistance  rendered  to  me  by  way  of  suggestion  of  sources  I 
am  under  obligation  to  Dr.  Bernard  C.  Steiner  of  the  Enoch  Pratt  Free 
Library  of  Baltimore,  Professor  Gustav  Gruener  of  Yale  University,  Pro- 
fessor Waldo  S.  Pratt  of  the  Hartford  Theological  Seminary,  Professor 
H.  C.  G.  von  Jagemann  of  Harvard  University  and  to  Professor  John  G. 
Robertson  of  the  University  of  London;  for  help  not  only  in  this  phase 

*  Stanza  i  of  Das  Deutsche  Lied,  a  poem  of  six  stanzas  by  Professor  A.  H.  Palmer, 


viii  PAUL  GERHARDT  AS  A  HYMN  WRITER 

of  the  work  but  also  in  the  general  treatment  of  the  subject  I  am  deeply 
indebted  to  the  counsel  of  my  father,  Professor  Emeritus  John  H.  Hewitt 
of  Williams  College  and  to  Professor  Arthur  H.  Palmer  of  Yale  University. 

New  Haven,  Connecticut, 

April  9,  1918. 


CONTENTS 

PAGE 

Bibliography xi 


PART  I 

CHAPTER 

I     Gerhardt's  Life  and  Times   I 

II     Gerhardt's  Relation  to  Earlier  Hymnody  of  Germany 6 

III     Characteristics  of  Gerhardt  as  a  Hymn  Writer 13 

PART  II 

I  History  of  English  Hymnody  and  the  German  Influence  upon 
English  Hymn  writing  from  the  Early  XVIth  through  the  XlXth 
Century  27 

II     English  Versions  of  Gerhardt's  Hymns 35 

APPENDIX 

1.  Biographical  Sketches  of  Translators   144 

2.  Tabulation  of  Alliteration,  Assonance,  etc 149 

3.  Index  by  Subjects   158 

4.  Index  of  English  Versions 160 

5.  Index  of  Gerhardt's  Hymns   167 


BIBLIOGRAPHY1 

Allg.  deutsche  Biographic,  1875  ff :   article  by  Berthau. 

Bachmann,   D.   J.   F. :    Paul   Gerhardt.     Vortrag   im   Evangel.   Verein   fiir  kirchliche 

Zwecke.     Nebst  18  Liedern  v.  P.  Gerhardt.     Berlin,  Schlawitz,  1863. 
Bachmann,   J.  F. :    Gerhardts   Gedichte :    Historisch-kritische  Ausgabe.     Berlin,   1866, 

1886. 

Benson,  L.  F. :    The  English  Hymn.     New  York,  1915. 
Blatter  fiir  Hymnologie:    A.  F.  W.  Fischer  and  J.  Linke,  1883-1889. 
Bode,  Wilhelm :    Quellennachweis  iiber  die  Lieder  des  hannoverschen  und  des  liine- 

burgischen  Gesangbuches,  samt  den  dazu  gehorigen  Singweisen.     Hannover,  1881. 
Botticher,  G. :    Die  Literatur  d.  17.  Jh.     Angew.  u.  erlautert,  3  verb.  Auflage.     (Denk- 

maler  e.  alteren  dtsch.  Lit.  IV,  i.) 
Bunsen,  Chr.  Karl  Josias,  Freiherr  von :   Versuch  eines  allgemeinen  Gesang-  u.  Gebet- 

buchs.     Hamburg,    1833.     Allgemeines    evang.    Gesang-   u.    Gebetbuch.     Hamburg, 

1846. 
Burdach,  A. :    A  monograph,  in  Deutsch-Evangclische  Blatter  32.  pp.  179-84   (giving 

reasons  for  fixing  May  27,  1676,  as  the  date  of  Gerhardt's  death). 
Cruger,  Johann :    Geistliche  Kirchenmelodien,  1649. 
:    Praxis  Pietatis  Melica,  1648  etc. 
:    Geistliche  Andachten,  pub.  by  Ebeling,  1666-1667. 
Cunz :    Geschichte  des  Kirchenliedes.     Leipzig,  1855. 
Deutsche  Nationallitteratur  by  J.  Kiirschner:    Vol.  31, — Das  deutsche  Kirchenlied  des 

16.  u.  17.  Jahrhunderts. 

Dietz :    Tabellarische  Nachweisung  des  Liederbestandes.     Marburg,  1904. 
Ebeling,  J.  G. :    Pauli  Gerhardi  Geistliche  Andachten.     Berlin,  1667  etc. 
Eckart,  R. :    P.  Gerhardt — Bibliographic. 

"   :    Stimmen  u.  Schriften  iiber  P.  Gerhardt. 
"   :    Ein  Nachklang  z.  Jubilaumsjahr,  1907. 

Feustking,  Joh.  Heinr. :   Gerhardts  Geistreiche  Haus-  und  Kirchenlieder.     Zerbst,  1707. 
Fischer-Tumpel :    Das  deutsche  evangel.  Kirchenlied  des   17.  Jahrh.     Giitersloh,  1906. 

Gerok,  Karl :    Gedichte  von  P.  Gerhardt,  mit  Einleitung  u.  Lebensabrisz.     6.  Auflage. 
Leipzig,  1907. 

Gervinus,  G.  G. :    Geschichte  der  deutschen  Nationalliteratur.    ed.  1842,  pt.  Ill,  p.  366. 

:    Geschichte  der  deutschen  Dichtung,  1871,  vol.  Ill,  p.  460  ff. 

Geyer,  P. :    Paul  Gerhardts  Geistliche  Lieder,  in  Neue  Kirchliche  Zeitschrift  18,  pp. 
177-199.     1907. 

1  Owing  to  the  European  war   it  has  been  impossible  to  extend  this  bibliography 
beyond  the  year  1913. 


xii  PAUL  GERHARDT  AS  A  HYMN  WRITER 

Goedeke,  Karl :    Gedichte  von   Paul   Gerhardt   mit   Einleitung   und  Anmerkungen,    in 

Deutsche  Dichter  des  17.  Jahrhunderts,  vol.  XII.     Leipzig,  1877. 
"     :    Zur  Geschichte  der  deutschen  Dichtung  III,  p.  182.     Dresden. 
"     :    Grundrisz  zur  Geschichte  der  deutschen  Dichtung,  vol.  II,  III.     Dres- 
den, 1884,  1887. 
Giinther,  R. :   Uber  Deutung  und  Anderung  einiger  Stellen  in  Paul  Gerhardts  Liedern, 

in  Monatsschrift  fur  Gottesdienst  und  Kunst  n,  pp.  343-348. 
Hahne,  F. :    P.  Gerhardt  u.  A.  Buchner,  in  Euphorion  15,  pp.  19-34.  IQO7-     (A  good 

article  on  Gerhardt's  metre.) 
Haupt,  E. :    Der  Konflikt  zwischen  P.  Gerhardt  u.  d.  Groszen  Kurfiirsten,  in  Deutsch- 

Evangelische  Blatter,  32,  pp.  80-98. 
Herford,  C.  H. :    Studies  in  the  literary  relations  of  England  and  Germany  in  the 

sixteenth  century.     Cambridge,  1886. 

Herrmann,  P. :    Deutsche  Dichter  u.  Gedichte  auf  Island,  in  Unterhaltungsbeilage  der 
Tdglichen  Rundschau.    Berlin,  1907,  N.  147-8.     (Das  Lied  v.  Kaiser  Friedrich  Rot- 
bart — Paul  Gerhardt — F.  de  la  Motte-Fouque.) 
Jahresberichte    fiir   neuere   deutsche   Literaturgeschichte.      Stuttgart,    Leipzig,    Berlin, 

1890  ff. 

Julian,  J. :    Dictionary  of  Hymnology.     Scribners,  New  York,  1892. 
Kaiser,   Her.  v.   P.:    Paul  Gerhardts   samtl.   Lieder.     (Hessische  Volksbikherei,   vol. 

339-345-) 
Kawerau,   G. :    Paul   Gerhardt :    ein  Erinnerungsblatt,   in   Schriften  dcs   Vcreins  fur 

Reformationsgeschichte,  pp.  92-97.     Halle,  1907. 
Kelly,  J. :    Paul  Gerhardt's  Spiritual  Songs.     London,  1867. 
Kirchner,  J. :    Die  Lieder  P.  Gerhardts,  in  Evangelisches  Schulblatt  55,  pp.  31  ff. 

"  :    P.   Gerhardts   Gattin   und    Sohn :    ib.  pp.  236-242.      (Anna   Maria  geb. 

Berthold  u.  Paul  Friedrich  Gerhardt.) 
"  :    Gerhardt    inmitten    seiner    Leidensgenossen.      In    Studicrstube    5,    pp. 

184-193. 
"  :    P.  Gerhardt.      In  Bcitrdge  zur  Literaturgeschichte,  Heft  51.      Leipzig, 

1907. 

Knipfer,  P.:    Paul  Gerhardt.     Leipzig,  1906. 
Koch,  E.  E. :    Geschichte  des  Kirchenliedes  und  Kirchengesangs  der  christlichen  ins- 

besondere  der  deutschen  evangelischen  Kirche.     1847,  1852,  1866-9. 
Kraft:  an  article  in  Ersch  u.  Gruber's  Allg.  Ensyklop'ddie.     1855. 
Krapp,  L. :    a  monograph  in  Gottesminne  5,  pp.  540-560. 

Krummacher,  F.  W. :    an  article  in  Piper's  Evangelische  Kalendcr,  pp.  204  ff.     Berlin, 
1866. 

Kiibler,  Theodore :    Historical  Notes  to  the  Lyra  Germanica.     London,  1865. 
Langbecker,  E.  Chr.  C. :    Leben  und  Lieder  von  Paulus  Gerhardt.     Berlin,  1842. 
Lippelt,  W. :    Ein  eigenhandiger  Brief   P.   Gerhardts  nach  Liibben   im  Autographen- 

handel.     Niederlausitz  Mitt.  10,  pp.  61-62. 
Massie,  R. :    Lyra  Domestica.     London,  1860,  1864. 
Monatsschrift  fiir  Gottesdienst  und  Kunst.     (Paul  Gerhardt  Heft.)    1907,   12.     N.  3. 

(Monographs  on  the  relation  of  composers  and  artists  to  Gerhardt.) 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY          xiii 

Nelle,  W. :    Gerhardt,  Rist,  Tersteegen,  Gellert  in  unseren  heutigen  Gesangbiichern,  in 

Monatsschrift  fur  Gottesdienst  und  Kunst  10,  pp.  141-151 ;    189-191 ;   250. 
Niebeling,  F. :    Paul  Gerhardt  u.  seine  Lieder  nach  Text  u.  Melodie,  in  Deutsch-evan- 

gelische  Rundschau,  1907. 
Pachaly,   P. :    Die   Form   der   Gerhardtschen   Lyrik.      In  Euphorion   14,  pp.    502-506. 

1907. 
Pahnke,  K.  H. :    Paul  Gerhardt,  ein  Idealist  des  Glaubens,  in  Idealisten  u.  Idealismus 

des  Christentums,  pp.  100-128.     Tubingen,  1903. 
Petrich,  Hermann :    Paul  Gerhardt,  seine  Lieder  u.  seine  Zeit.  Giitersloh,  1907. 

:    Der  Dichter  u.  seine  Kunst.     Giitersloh,  Bertelsmann,  pp.  267-304. 
:    Paul    Gerhardt.      Ein    Beitrag    z.    Gesch.    d.    deutschen    Geistes. 

Giitersloh,  Bertelsmann  XIV,  360  p. 
Pick,  B. :    Lyra  Gerhardti ;    or  selection  of  P.  Gerhardt's  spiritual  songs :    a  memorial 

leaf.     Burlington,  Iowa,  German  Literary  Board,  12°,  1907. 
Reclam,  Ph. :    Gerhardts  Gedichte,  in  the    "Universal-Bibliothek." 
Ritschl,  A. :    Geschichte  des  Pietismus.     Bonn,  1880,  1884,  1885. 
Rogge,  B. :    P.  Gerhardt,  der  christl.  Liederdichter.     In  Deutsch-evangel.  Charakter- 

bilder.    2.  Aufl.     Altenburg,  1903,  pp.  151-160. 

Roth,  E.  G. :    P.  Gerhardt,  nach  seinem  Leben  und  Wirken.     Leipzig,  1829. 
Schaff-Gilman :    Library  of  Religious  Poetry.     1881. 
Schaff-Herzog :    Encycl.  of  Religious  Knowledge.     New  York,  1894. 
Scherer,  Wilhelm :    Geschichte  der  deutschen  Literatur.     Berlin,  1899. 
Schirks,  W. :     Paul  Gerhardt,   ein   Lebens-   und   Charakterbild.      In    Theol.   Stud.   u. 

Kritik,  1855. 

Schmidt,  Friedrich :    Paul  Gerhardts  Geistliche  Lieder.     Leipzig,  Reclam,  1884. 
Schultze,  O. :    Paul  Gerhardt  und  der  grosze  Kurfiirst.     Berlin,  1840. 

"  :    Paul  Gerhardts  Geistliche  Andachten.     Berlin,  1842. 
Smend,  J. :    Paul  Gerhardt  u.  das  evangelische  Kirchenlied.     In  Der  Protestantismus 

am  Ende  des  19.  Jahrh.  I,  p.  301  ff. 

Spitta,  F. :    Paul  Gerhardt  und  S.  Bach,  in  Monatsschrift  fur  Pastor altheologie. 
Steinhausen,  H. :    P.  Gerhardt  u.  sein  Denkmal,  in  Kunstwart  161,  pp.  538-541. 
Trepte,  E.  W.  H. :    Paul  Gerhardt :    Eine  biographische  Skizze.     Delitzsch,  1829. 
Wackernagel,    Philipp :     Paul    Gerhardts    Geistliche    Lieder,    herausgegeben   von    Ph. 

Wackernagel.      Stuttgart,   1843.      (9-  Aufl.      herausg.  v.  W.  Tumpel.      Giitersloh, 

1907.) 

Wackernagel,  Ph. :    Das   deutsche  Kirchenlied  von   der  altesten  Zeit  bis  zu  Anfang 

des  XVII  Jahrhunderts.     Leipzig,  1864-1877. 

Wackernagel,  Wilhelm:    Geschichte  d.  deutschen  Litteratur.     Basel,  1894. 
Waldberg,  M.  F. :    Renaissance-Lyrik.     Heidelberg,  1888. 

Wernle,  P. :  Paulus  Gerhardt,  in  Religionsgeschichtl.  Volksbucher  IV,  Heft  2.  Tubin- 
gen, 1907. 

Wildenhahn,  K.  A.:  Paul  Gerhardt,  Kirchengeschichtliches  Lebensbild  aus  der  Zeit 
des  groszen  Kurfiirsten.  1845.  (This  has  been  translated  by  Mrs.  Stanley  Carr, 
1856.) 


xiv  PAUL  GERHARDT  AS  A  HYMN  WRITER 

Wimmer,  C :   Gerhardts  Leben.    Altenburg,  1723. 

Winkworth,  Catherine:    Lyra  Germanica.    First  Series,  1855.    Second  Series,  1858. 

"  "         :    Chorale  Book  for  England,  1863. 

"  "         :    Christian  Singers  of  Germany.     Macmillan,  1869. 

Zschnarack:   Paul  Gerhardt,  in  Religion  in  Geschichte  und  Gegenwart  2,  pp.  1314-1317. 

For  a  complete  list  of  the  biographical  sketches,  monographs,  etc.,  which  appeared 
in  1907  on  the  occasion  of  the  300th  anniversary  of  Gerhardt's  birth,  cf.  Jahresberichte 
fur  neuere  deutsche  Literaturgeschichte,  Vols.  XVI-XVII,  1906-1907. 


MUSICAL  SETTINGS1 

Paul  Gerhardts  Geistliche  Lieder  in  neuen  Weisen  von  Fr.  Mergner.     30  ausgewahlte 
Lieder  von  Karl  Schmidt.     Leipzig,  C.  Deichert,  1907. 

1  Cf.  also  p.  21. 


CHRONOLOGICAL    TABLE 

1607  (Mar.  12)  Paul  Gerhardt  born  at  Grafenhainichen  near  Wittenberg. 

1622-1627  At  school  at  Grimma. 

i628-i642(?)  Student  at  Wittenberg.     Teachers:   Rober,  Martini. 

1637  Grafenhainichen  set  on  fire  by  Swedish  soldiers. 

1642-1651  ( ?)  At  Berlin;  where  he  wrote  Gelegenheitsgedichte,  18  of  which 

Criiger  published  in  his   "Praxis  pietatis  melica." 
1651  Proposed  as  minister  at  Mittenwalde. 
1651  (Nov.)  Ordained  as  Probst  at  Mittenwalde. 

1655  (Feb.  ii )  Marriage  with  Anna  Maria  Barthold. 

1656  (Oct.)  Called  to  Berlin  to  the  Nicolaikirche. 

1657  (Summer)  Entered  upon  work  in  Berlin. 
1662  Elector  issues  edict. 

1666   (Feb.  6th  or   i6th)    Summoned  to  Consistory  and  threatened  with 

deposition. 

1668   (Mar.  5)   Death  of  wife. 
1668  (Autumn)  Called  to  Liibben. 
1676  (May  27?)  Death  at  Liibben. 


PART  ONE 


CHAPTER  I. 

GERHARDT'S  LIFE  AND  TIMES. 

ALTHOUGH  Paul  Gerhardt's  poems  have  been  so  great  a  power  in  the 
1\  world,  nevertheless  facts  concerning  his  own  life  are  few.  A  fire  set 
by  the  Swedish  soldiers  in  I6371  destroyed  all  records  which  might  enlighten 
us,  yet  from  indirect  sources  and  from  his  poems,  we  are  certain  of  some 
facts  of  his  biography. 

He  was  born  in  Grafenhainichen  a  few  miles  southwest  of  Wittenberg 
in  the  direction  of  Halle  on  March  I2th  in  the  year  1607  probably.  In  this 
small  town,  of  the  electorate  of  Saxony,  which  was  surrounded  by  a  high 
mediaeval  wall,  Paul  Gerhardt  spent  the  first  fifteen  years  of  his  life.  His 
father,  Christian  Gerhardt,  was  burgomaster  of  Grafenhainichen  where  the 
citizens  earned  their  living  by  cattle-raising,  agriculture  and  hopgrowing. 
His  mother  was  Dorothea  Starke,  granddaughter  of  Gallas  Dobler,  a 
Lutheran  pastor.  Both  of  his  parents  died  probably  when  he  was  very 
young;  and  of  his  many  brothers  and  sisters  little  is  known. 

At  the  age  of  fifteen  having  passed  the  examinations  and  being  especially 
well  prepared  in  Latin  Gerhardt  entered  the  Fiirstenschule  at  Grimma.  The 
school  was  noted  for  its  pious  atmosphere  and  stern  discipline:  its  chief 
aim  was  to  inculcate  in  the  pupils  "Gottesfurcht  und  gute  Sitte." 

It  is  natural  that  Gerhardt  on  completing  his  course  at  Grimma  in  1627 
should  choose  Wittenberg  as  his  university,  for  it  was  situated  almost  at 
the  gates  of  his  native  town.  Furthermore  since  this  was  the  place  where 
Luther  and  Melanchthon  had  worked,  the  Protestant  world  looked  toward 
Wittenberg  with  great  hopes.  He  entered  the  university  in  1628.  Two  of 
the  teachers  in  particular  had  great  influence  on  him,  Paul  Rober  and  Jacob 
Martini.  These  men  were  guardians  of  Lutheranism,  and  Rober  besides 
composing  hymns  wrote  many  Latin  disputations  and  polemics  against 
Rome  and  Calvinism;  in  his  sermons  he  often  took  his  text,  not  from 
the  Bible  but  from  some  religious  poem,  preaching  for  example  on  "Was 
mein  Gott  will,  das  gescheh  allzeit."  In  this  way  Gerhardt  was 'taught  the 

1  Cf .  pp.  2  and  3. 


2  PAUL  GERHARDT  AS  A  HYMN  WRITER 

full  use  and  purpose  of  hymn  writing.  Beside  Rober  and  Martini  another 
Wittenberg  professor  was  of  influence  on  Gerhardt,  the  philologist  August 
Buchner,  one  of  the  most  esteemed  members  of  the  faculty.  He  had  inti- 
mate friendship  with  Opitz  and  had  warmly  advocated  the  latter's  Von  der 
Deutschen  Poeterei  and  had  himself  written  Anleitung  zur  deutschen 
Poeterey.  As  this  book  was  easily  copied2  by  many  of  the  students,  it  is 
reasonable  to  assume  that  this  effort  toward  spreading  Opitz'  rules  for 
rhythmic  measure  had  its  due  influence  on  Gerhardt. 

More  is  not  known  concerning  his  university  career.  A  Latin  epigram 
of  the  year  1642  points  to  the  probability  of  his  being  still  at  Wittenberg, 
while  the  certainty  of  his  being  in  Berlin  the  next  year  1643  *s  proved  by  a 
Hochzeitsode.3  Gerhardt  was  undoubtedly  tutor  in  the  house  of  Andreas 
Barthold  then  "Kammergerichtsadvokat,"  whose  daughter  wedded  Joachim 
Fromme,  the  archdeacon  of  the  Nicolaikirche  in  Berlin;  this  wedding  was 
the  occasion  of  the  congratulatory  Hochzeitsode.  During  this  period  in 
Berlin  from  his  thirty-seventh  to  his  forty-sixth  year  he  wrote  a  number  of 
"Gelegenheitsgedichte"  which  show  us  Gerhardt  as  quite  at  home  moving 
in  a  circle  of  educators  and  clergymen.  Among  his  friends  was  the  well 
known  choirmaster  of  the  Nicolaikirche,  Johann  Criiger,  who  first  intro- 
duced Gerhardt's  hymns  into  common  worship  by  publishing  eighteen*  of 
them  with  other  poems  in  his  Praxis  pietatis  melica.  In  these  early  poems 
Gerhardt's  depth  of  feeling  and  natural  warmth  of  character  are  present. 
Since  his  twelfth  year  the  Thirty  Years'  War,  a  period  of  destruction 
unparalleled  in  Germany  history,  had  been  going  on.  The  horrors  of  the 
epoch  made  deep  impression  upon  his  imaginative  mind,  and  the  strife,  the 
struggle  for  freedom  of  the  conscience  enlisted  his  sympathy  and  strength- 
ened his  determined  resistance  to  all  religious  compulsion.  The  hope  and 
joy  in  this  life  were  taken  away  and  confidence  in  another  world  was  needed. 
Gerhardt  even  in  these  early  hymns  gave  fully  that  deep  assurance  in  the 
guidance  of  God. 

He  himself  had  suffered  individual  loss.  The  Swedes  in  1637  determined 
to  punish  Johann  Georg,  the  Elector  of  Saxony,  because  he,  in  spite  of  a 
signed  contract  with  them,  had  deserted  the  Protestant  cause,  and  in  their 
ravages  they  appeared  before  Grafenhainichen  and  demanded  a  war  tax  of 
3000  Gulden.  It  was  paid,  but  notwithstanding  the  payment  the  Swedish 

2  In  1665  there  was  published  an  authentic  edition. 
8  Cf.  Goed.  10 :    "Der  aller  Herz  und  Willen  lenkt." 
4 Among  these  18  were: 

"Ein  Lammlein  geht  und  tragt  die  Schuld"   Goed.  68. 

"O  du  allersiiszte  Freude"   Goed.  76. 

"O  Welt  sieh  hier  dein  Leben"    Goed.  71. 

"Wach  auf,  mein  Herz,  und  singe"   Goed.  59. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY  3 

soldiers  set  fire  to  the  town.  The  Gerhardt  house  and  the  church  with  its 
many  records  were  among  the  four  hundred  buildings  destroyed. 

Whether  Gerhardt  felt  the  pinch  of  distress  of  the  war,  or  hesitated  to 
enter  a  field  already  crowded  with  a  superabundance  of  young  clergymen, 
or  for  what  reason  he  stayed  so  long  in  Berlin  as  tutor  is  not  known,  but 
he  was  already  forty-five  years  old  when  he  began  his  first  church  work. 
In  a  letter  of  the  clerical  cabinet  ("Geistliches  Ministerium")  of  Berlin  to 
the  magistrate  of  Mittenwalde  (Sept.  1651)  Gerhardt  was  proposed  as 
minister  and  he  is  characterized  as  being  of  "well  known  diligence  and 
scholarship,  of  peace  loving  disposition  and  blameless  life,  besides  being 
loved  and  esteemed  by  both  high  and  low  in  Berlin."  Upon  the  successful 
outcome  of  this  recommendation  Gerhardt  was  ordained  "Propst"5  of  Mit- 
tenwalde on  the  1 8th  of  November,  1651,  entering  his  new  office  in  December 
of  that  year.  At  his  ordination  he  pledged  his  support  especially  of  the 
Lutheran  Book  of  Concord  (Concordienformel). 

The  community  of  Mittenwalde  had  suffered  severely  in  1637  as  had 
Grafenhainichen  from  the  Swedish  marauders  and  attacks  of  pestilence, 
and  Paul  Gerhardt  undertook  his  duties  here  with  full  understanding  of 
this  universal  suffering,  and  fulfilled  them  with  all  his  strength.  The  poems 
which  he  wrote  at  this  time  give  evidence  of  a  tender,  yet  strong  pastoral 
care.  He  was  a  spiritual  guide  and  comforter,  yet  in  spite  of  his  ardent 
work  in  Mittenwalde  he  apparently  yearned  for  Berlin,  and  often  returned 
thither  to  visit.  On  February  nth,  1655,  at  the  age  of  forty-eight  he  mar- 
ried Anna  Maria  Barthold,  daughter  of  Andreas  Barthold  and  sister  of 
Frau  Fromme.6  Their  first  child,  born  to  them  in  1656,  died  in  infancy 
and  a  memorial  tablet  in  the  church  in  Mittenwalde  shows  their  grief. 
That  same  year  Gerhardt  accepted  the  deaconry  at  the  Nicolaikirche  in  Ber- 
lin, and  began  his  work  in  the  summer  of  1657.  He  seems  to  have  had 
some  hesitation  about  leaving  Mittenwalde,  because  it  was  only  "after 
fervent  prayer  and  mature  deliberation,"  that  he  accepted  the  call  to  Berlin. 
However,  without  doubt  he  and  Frau  Gerhardt  were  glad  to  be  again 
among  such  friends  as  Georg  Lilius  and  Michael  Schirmer  whose  tastes 
were  so  similar  to  their  own. 

When  Gerhardt  came  to  Berlin  he  entered  a  city  full  of  sharp  strife 
between  the  Lutheran  and  the  Reformed  clergy ;  the  Great  Elector  was  by 
inheritance  and  by  education  in  the  Netherlands  where  he  spent  four  years 
strongly  in  favor  of  the  Reformed  Church.  Gerhardt  on  the  other  hand 

5  In  Mittenwalde,  9  English  miles  south  of  Berlin,  there  were  in  the  church  two 
clerical  positions,  the  first  of  which  was  known  as  the    "Propstei,"    since  its  occupant 
was  entrusted  with  the  supervision  of  the  clergy  of  the  vicinity.     Propst  (or  Probst) 
is  from  the  Latin  propositus. 

6  Cf .  p.  2. 


4  PAUL  GERHARDT  AS  A  HYMN  WRITER 

held  the  security  of  the  Lutheran  faith  very  dear.    When  hostilities  between 
the  clergy  began  to  disturb  the  peace,  the  Elector  issued  on  the  2d  of  June, 
1662    an  edict7  the  purpose  of  which  was  to  maintain  harmony  betweei 
Reformed  and  Lutheran  clergymen.     Its  only  effect  was,  however    to  fan 
the  flames  of  the  very  conflagration  he  sought  so  hard  to  quench, 
unconciliatory  spirit  was  encouraged  from  Wittenberg,  too,  where  Theology 
of  Controversy  had  reached  its  highest  pitch  through  Calovius,  whose  advice 
and  judgment  Gerhardt  prized.    His  inclination  toward  Wittenberg  is  s 
also  in  various  Latin  poems  for  special  occasions. 

Gerhardt  did  not  seek  the  quarrel,  but  was  drawn  forcibly  into  it ;  he  was 
concerned  throughout  the  controversy  in  keeping  a  clear  conscience  and 
preserving  the  confession  of  the  Lutheran  Church.  In  all  the  documents 
that  were  issued  in  this  period  between  the  Magistrate,  the  "Stande"  and 
the  Elector  it  is  said  of  him  that  he  was  always  pacific  and  conciliatory. 
Being  a  strong  adherent  of  all  the  symbolic  books,  including  the  Book  of 
Concord,  he  could  not  conscientiously  sign  the  edict.  He  was  accordingly 
dismissed.  The  citizens  of  Berlin  espoused  his  cause  and  appealed  to  the 
Magistrate  who  testified  that  Gerhardt  had  never  "scorned  nor  rebuked 
the  faith  of  the  Elector."  Also  his  influential  patron,  Mayor  Zarlang,  tried 
to  reinstate  him,  but  Gerhardt  could  not  renounce  his  adherence  to  the 
Concordienformel,  so  in  1666  his  position  was  filled  by  another.  Nor  on  the 
other  hand  can  the  Elector  be  blamed  for  his  stand ;  he  wished  only  to  have 
peace  between  the  adherents  of  the  two  beliefs,  and  was  sincere  in  the 
thought  that  the  Concordienformel  merely  fomented  strife. 

For  some  years  Gerhardt  lived  in  Berlin  without  any  position,  supported 
by  his  friends  in  his  congregation.  He  was,  however,  the  victim  of  inevit- 
able circumstances,  for  although  within  a  few  months  of  his  resignation  the 
edict  was  withdrawn,  his  patroness,  Electress  Luise  Henriette,  had  died. 
All  of  his  children  had  died  in  infancy  except  Paul  Friedrich  who  survived 
him,  and  in  March,  1668,  his  wife  died  who  had  been  as  strong  a  follower 
of  the  Lutheran  Faith  as  he,  and  had  encouraged  him  in  his  stand  of  not 
signing  the  edict.8  Her  death  was  the  fulfillment  of  a  wish  that  "the  dear 
Lord  might  soon  come  and  release  her." 

Gerhardt  took  into  his  home  as  housekeeper  the  widow  of  his  brother-in- 
law  Fromme.9  His  household  was  reasonably  large  for  one  in  his  condition, 

7  This  mandate  was  a  renewal  of  the  edict  issued  by  his  grandfather  on  Feb.  24, 
1614,  demanding  "moderation  and  modesty  in  the  pulpit." 

8  The  attitude  of  the  women  in  this  time  of  religious  strife  who  urged  their  husbands 
to  sign  the  edict  is  satirized  in  the  following  lines : 

Schreibt,  Hebe  Herre,  schreibt, 
dasz  Ihr  in  der  Pfarre  bleibt. 
*  Cf.  pp.  2  and  3. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY  5 

a  preacher  without  office ;  he  speaks  of  three,  or  even  of  four  servants,  and 
mentions  at  times  some  business  matters  in  Berlin  that  seem  to  be  of  moment. 
Although  he  must  also  have  had  pupils  whom  he  tutored  during  these  years, 
he  evidently  wished  for  some  definite  occupation,  and  it  came.  On  the  I4th 
of  October,  1668,  Paul  Gerhardt  preached  a  trial  sermon  ("Gastpredigt") 
in  Liibben.  The  city  council  the  following  day  with  the  unanimous  consent 
of  the  citizens  offered  him  the  vacant  charge  and  Gerhardt  accepted  it  as  a 
divine  gift.  The  formal  call  under  date  of  October  29th  was  sent  to  him 
at  Berlin.  Owing  to  various  circumstances,  such  as  the  delay  incident  to 
necessary  repairs  on  the  parsonage,  and  also  the  serious  illness  of  his  son, 
Paul  Friedrich,  he  did  not  enter  his  duties  till  Trinity  Sunday,  1669.  He 
was  at  this  time  sixty-three  years  old,  and  for  seven  years  he  worked 
faithfully  in  this  new  field. 

Gerhardt  died  the  2/th  of  May,  1676,  with  the  prayer  on  his  lips : 

Kann  uns  doch  kein  Tod  nicht  todten, 

Sondern  reiszt  unsern  Geist 

Aus  viel  tausend  Noten ; 

Schleuszt  das  Thor  der  bittern  Leiden 

Und  macht  Bahn,  Da  man  kann 

Gehn  zur  Himmelsfreuden.10 

He  was  buried  in  the  vault  of  the  Liibben  church. 

Shortly  before  his  death,  in  his  seventieth  year,  he  composed  a  sort  of 
testament  or  will  of  a  moral  nature  for  his  own  Paul  in  which  he  hoped  to 
leave  little  of  this  world's  goods,  but  an  honorable  name  of  which  his  son 
might  not  be  ashamed.  He  commends  to  the  boy  the  study  of  theology  at 
reputable  universities  and  also  the  avoidance  of  the  Syncretists,11  on  the 
ground  that  they  aimed  at  temporal  things  and  were  loyal  to  neither  God 
nor  man. 

In  a  memorial  service  to  Gerhardt  in  1876,  a  tablet  was  put  up  on  the 
north  wall  of  the  chancel  of  the  church  at  Liibben;  and  his  portrait  hung 
there  bears  this  inscription : 

Theologus  in  cribro  Satanae  versatus.12 

The  Nicolaikirche  in  Berlin  and  the  other  churches  where  he  held  charge 
have  portraits  of  Gerhardt  on  their  walls.  Also  among  the  many  memorials 
to  him  are  charitable  foundations  in  Mittenwalde,  Wittenberg  and  Berlin 
bearing  his  name.  To  these  tributes  the  present  generation,  now,  three 
centuries  later,  adds  its  praise  and  gratitude. 

10  This  is  stanza  VIII  of  his  poem  : 

"Warum  sollt  ich  mich  denn  gramen"  (cf.  Coed.  122). 

11  The  Syncretists  sought  to  effect  an  agreement  between  the  Reformed  and  Lutheran 
doctrines. 

12  "A  divine  sifted  in  Satan's  sieve."     Cf.  St.  Luke  XXII,  31. 


CHAPTER  II. 

GERHARDT'S  RELATION  TO  EARLIER  HYMNODY  OF 

GERMANY. 
THE  MEDIAEVAL  PERIOD. 

THE  history  of  hymnody  in  Germany  up  to  the  time  of  Gerhardt  falls 
naturally  into  two  periods  which  might  be  called  the  Mediaeval  Period, 
extending  from  the  beginning  of  the  eighth  century  to  the  end  of  the 
fifteenth  century,  and  the  Reformation  Period  covering  the  sixteenth  and 
the  first  half  of  the  seventeenth  centuries. 

The  Hymns  used  in  the  services  of  the  early  church  in  Germany  were, 
for  obvious  reasons,  Latin  hymns,  for  St.  Boniface,  the  Apostle  of  Ger- 
many, though  of  English  birth,  entered  Germany  by  the  way  of  Rome.  It 
was  a  Latin  Christianity  which  he  preached  and  the  church  services  were, 
of  course,  those  of  the  Mother  Church.  While  the  general  use  of  the  Latin 
language  was  favorable  to  preserving  the  unity  of  the  Church  and  facilitated 
literary  intercourse  among  scholars,  this  circumstance  prevented  for  a  long 
time  the  free  and  full  development  of  a  hymnody  in  the  vernacular.  The 
innate  love  of  poetry,  however,  produced  many  sacred  lyrics  for  private 
devotion  and  caused  to  be  made  metrical  translations  of  Latin  hymns  and 
portions  of  the  Psalter.  In  the  consideration  of  the  earlier  period  of 
hymnody  reference  will  be  made  to  a  few  Latin  hymns,  which  though  not 
of  German  authorship  were  yet  used  in  the  religious  services  of  the  Germans 
and  had  some  influence  in  the  development  of  the  German  vernacular 
hymnody.  And  in  this  consideration  of  hymns  and  hymn  writers  it  will  be 
convenient  in  the  main  to  follow  the  chronological  order. 

Probably  it  cannot  be  known  what  and  when  Latin  hymns  were  first 
translated  into  modern  languages.  If  the  statement  made  by  Dean  Milman 
in  a  footnote  of  his  Latin  Christianity,  that  the  hymns  of  Ambrose  were 
translated  into  German  in  the  ninth  century,  is  well  founded,  then  probably 
the  "Deus  Creator  omnium"  and  "Aeterne  rerum  Conditor,"  which  are 
undoubtedly  by  Ambrose,  were  among  the  earliest  of  Latin  poems  to  be  so 
translated. 

The  oldest  German  poet  is  the  Benedictine  monk,  Otfrid  of  Weissenburg, 
who  was  born  about  the  beginning  of  the  ninth  century,  according  to  some 
authorities  in  Franconia,  according  to  others  near  the  Lake  of  Constance. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY  7 

He  settled  as  a  monk  and  priest  at  Weissenburg,  where  he  wrote  and  com- 
pleted (about  865)  his  Evangelienbuch,  a  versified  gospel  history,  and  a 
most  interesting  work  from  a  philological  as  well  as  a  hymnological  point 
of  view.  This  is  the  earliest  example  of  a  long  German  poem  in  rhyme. 
Of  the  rhymed  prayers  which  some  on  doubtful  authority  have  ascribed  to 
him  two  have  been  translated  by  Miss  Winkworth,  "Du  himlisco  trohtin" 
("Thou  Heavenly  Lord  of  Light")  and  "Got  thir  eigenhaf  ist"  ("God,  it  is 
thy  property").1 

A  celebrated  Latin  hymn  of  early  date,  which  is  known  to  have  been  used 
as  early  as  898,  is  the  "Veni  Creator  Spiritus" ;  it  has  been  constantly  sung 
throughout  Christendom  at  the  consecration  of  kings  and  at  great  eccle- 
siastical solemnities.  It  has  been  ascribed  to  Charlemagne,  Charles  the  Bald, 
Gregory  the  Great  and  various  others.2 

To  this  early  period  belongs  Notker  of  St.  Gall,  called  Balbulus,  the 
"Stammerer,"  who  was  born  in  Switzerland  about  840  and  died  in  912. 
He  wrote  in  Latin  and  was  the  originator  of  a  form  of  Latin  hymnody 
called  "sequentia"  or  "prosa,"  which,  when  translated  into  German,  gave 
rise  to  the  earliest  German  hymns  with  which  we  are  acquainted.  When- 
ever in  the  eucharistic  service  a  "Hallelujah"  was  introduced  it  had  been 
customary  to  prolong  the  last  syllable  and  to  sing  on  the  vowel  "ah"  a 
series  of  elaborate  passages  to  represent  an  outburst  of  jubilant  feeling. 
These  were  termed  "sequences"  because  they  followed  the  "Hallelujah" 
and  repeated  its  notes.  They  were  of  course  without  words  and  what 
Notker  did  was  to  write  words  for  them.  Notker  was  characterized  as  a 
man  of  gentle,  contemplative  nature  and  "accustomed  to  find  spiritual  and 
poetical  suggestions  in  common  sights  and  sounds."  One  of  the  most 
remarkable  of  his  sequences,  "Media  vita  in  morte  sumus,"  is  said  to  have 
been  suggested  to  him  while  observing  some  workmen  constructing  a  bridge 
in  a  precipitous  and  most  dangerous  place.  This  sequence  was  long  used 
as  a  battle-song;  one  of  Luther's  funeral  hymns,  "Mitten  wir  im  Leben 
sind,"  is  a  translation  of  it  and  portions  of  the  Burial  Service  of  the  Church 
of  England  are  taken  from  it.  St.  Gall,  which  was  for  a  long  time  the 
especial  seat  of  German  religious  literature,  produced  besides  Notker 
several  distinguished  sequence-writers,  presumably  his  pupils,  Hartmann, 
Hermann,  and  Gottschalk.  To  Gottschalk  has  been  ascribed  the  "Alleluiatic 
Sequence  ("Cantemus  cuncti")  well  known  in  England  by  the  translation, 
"The  strain  upraise  of  joy  and  praise." 

1  This  latter  is  regarded  by  some  authorities  as  from  the  pen  of  St.  Gregory  the 
Great. 

2  For  a   scholarly  discussion   of  the  authorship   of   this    famous   hymn  cf.  Julian : 
Dictionary  of  Hymnology,  p.  1206  ff. 


8  PAUL  GERHARDT  AS  A  HYMN  WRITER 

An  early  example  of  the  change  of  sequences  from  a  rhythmical  to  a 
metrical  form  is  seen  in  the  so-called  "Golden  Sequence,"  "Veni  Sancte 
Spiritus,"  called  by  Archbishop  Trench  "the  loveliest  of  all  the  hymns  in 
the  whole  circle  of  Latin  sacred  poetry."  Tradition  assigns  its  authorship 
to  Robert  II,  King  of  France  (997-1031 ).  Its  merit  is  attested  by  the  many 
translations  made  of  it  into  German,  English  and  other  languages. 

By  the  beginning  of  the  tenth  century  the  impulse  given  to  the  arts  by 
Charlemagne  had  gradually  died  out  and  the  state  of  society  had  become  so 
disorganized  that  for  two  centuries  after  the  time  of  Notker  the  field  of 
literature  was  comparatively  barren.  The  twelfth  and  thirteenth  centuries, 
however,  mark  a  great  change  and  form  an  era  of  rapid  growth.  Germany 
was  now  ruled  by  the  Hohenstauffens,  whose  dream  it  was  to  prove  them- 
selves true  heirs  of  Charlemagne  by  re-establishing  the  Empire  of  the  West. 
As  a  result  of  their  participation  in  the  common  life  of  Christendom,  very 
largely  through  the  influence  of  the  crusades,  came  the  development  of 
chivalry  and  a  national  literature,  the  first  great  outburst  of  German  poetry 
and  song.  A  large  class  (more  than  two  hundred)  of  minnesingers  sprang 
up  who  glorified  earthly  and  heavenly  love  and  the  Virgin  Mary  as  the 
type  of  pure  womanhood.  In  the  church  too  the  voice  of  native  song  now 
made  itself  heard.  The  "Kyrie  eleison"  and  "Christe  eleison"  which 
passed  from  the  Greek  church  into  the  Latin,  as  a  response  of  the  people, 
to  be  repeated  over  and  over  again,  especially  on  the  high  festivals,  were  * 
popularly  enlarged,  and  these  brief  poems  were  called  from  the  refrain 
"Kirleison"  or  "Leisen,"  also  "Leichen."3  These  sequences,  for  such 
they  were,  were  the  first  specimens  of  German  hymns  which  were  sung  by 
the  people.  The  oldest  dates  from  the  end  of  the  ninth  century  and  is  called 
the  "Leich  vom  heiligen  Petrus."  It  has  three  stanzas,  of  which  the  first 
reads : 

Unser  trohtin  hat  farsalt 

sancte  Petre  giwalt 

Daz  er  mag  ginerjan 

zeimo  dingenten  man. 

Kyrie  eleyson  !    Christe  eleison.* 

The  twelfth  century  produced  the  "Salve  Caput  cruentatum"  of  Bernard 
of  Clairvaux,— a  hymn  which  has  come  to  us  by  Paul  Gerhardt,5  whose  own 
hymn  writing  is  wonderfully  affected  by  Bernard. 

"  It  is  possible  that  instead  of  being  a  corruption  of  the  Greek  phrase  the  word  may 
have  denoted  at  first  a  certain  dance  measure.  Cf.  Grimm:  Deutsches  Worterbuch 
Vol.  VI. 

4  "Our  Lord  hath  given  St.  Peter  power  that  he  may  preserve  the  man  who  hopes 
in  him." 
*  Cf.  p.  86  and  note. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY  9 

In  the  following  century  appeared  two  widely  celebrated  compositions, 
the  "Dies  irae"  and  the  "Stabat  Mater  dolorosa."  These,  as  well  as  many 
others  of  the  best  Latin  hymns,  such  as  the  "Te  Deum"  and  the  "Gloria 
in  excelsis,"  were  repeatedly  translated.  Occasionally  words  of  the  original 
Latin  were  introduced  into  the  vernacular  as  in  the  Christmas  hymn : 

In  dulci  jubilo 

Nu  singet  und  seyt  fro ! 

Unsres  Herzens  Wonne 

Leyt  in  presipio 

Und  leuchtet  in  gremio. 

Alpha  es  et  O. 

The  mystic  school  of  Tauler,  in  the  fourteenth  century  produced  a  number 
of  hymns  full  of  glowing  love  to  God.  Tauler  is  the  author  of  the  Christ- 
mas poem,  "Uns  kommt  ein  Schiff  geladen"  and  the  hymn  of  Self  Renun- 
ciation, "Ich  musz  die  Creaturen  fliehen,"  both  of  which  have  passed  into 
English,  the  best  versions  being  those  of  Miss  Winkworth.6 

Of  unusual  sweetness  and  abiding  worth  are  the  hymns  of  Heinrich  von 
Laufenburg,  the  most  important  and  prolific  hymn  writer  of  the  fifteenth 
century.  Many  are  in  intricate  metres,  while  others  are  transformations  of 
secular  songs  into  religious  songs.  His  cradle  hymn,  "Ach  lieber  Herre 
Jesu  Christ,"  is  a  beautiful  prayer  of  a  mother  for  her  infant  child,  and 
has  become  well  known  in  England  through  Miss  Winkworth's  translation. 

German  hymnody  of  the  Middle  Ages  is,  like  the  Latin,  overflowing 
with  the  worship  of  the'  saints  and  the  Virgin  who  is  even  clothed  with 
divine  attributes  and  is  virtually  accorded  the  place  of  Christ  as  the  fountain 
of  grace.  In  characterizing  the  period  Wackernagel  says7 

"Through  all  the  centuries  from  Otfrid  to  Luther  we  meet  with  the  idol- 
atrous worship  of  the  Virgin  Mary.  There  are  hymns  which  teach  that 
she  pre-existed  with  God  at  the  creation,  that  all  things  are  created  in  her 
and  for  her  and  that  God  rested  in  her  on  the  seventh  day." 

One  of  the  favorite  hymns  to  the  Virgin,  "Dich  Frau  von  Himmel,  ruf 
ich  an,"  Hans  Sachs  subsequently  changed  into  "Christum  vom  Himmel 
ruf  ich  an,"  a  change  strikingly  characteristic  of  the  effect  which  the 
Reformation  exerted  upon  the  worship  of  the  Virgin  Mary.  It  substituted 
for  it  the  worship  of  Christ  as  the  sole  Mediator  through  whom  men 
attain  eternal  life. 

THE  REFORMATION  PERIOD,  1500-1648. 

Guizot  in  his  History  of  European  Civilization  calls  the  Reformation  an 
insurrection  of  the  human  mind  against  the  absolute  power  of  spiritual 

*  Cf.  Christian  Singers  of  Germany. 
T  Das  deutsche  Kirchenlied,  II,  p.  13. 


10 


PAUL  GERHARDT  AS  A  HYMN  WRITER 


order  In  the  changes  that  then  occurred  few  things  are  more  noteworthy 
than  the  new  privileges  granted  to  the  individual  worshipper.  There  was 
revived  the  primitive  idea  of  the  priesthood  of  all  believers.  Instead  of  the 
Latin  Mass,  the  Reformation  introduced  a  sermon  in  the  vernacular,  and 
for  the  chanting  of  priests  and  choirs  it  substituted  congregational  singing. 
Among  the  means  which  contributed  to  the  large  benefits  which  then  came 
to  the  church  the  writing  of  hymns  was  not  the  least  important.  It  is  inter- 
esting to  note  that  the  leader  of  the  Reformation  was  also  the  first  evangelical 
hymnist.8  To  Luther  belongs  the  extraordinary  merit  of  having  given  to 
his  people  in  their  own  language  not  only  the  Bible  and  the  Catechism,  but 
also  the  hymn  book,  so  that  they  might  directly  answer  the  word  of  God  in 
their  songs.  No  sooner  had  there  been  felt  the  want  of  German  psalms  and 
hymns  to  take  the  place  of  the  Latin  hymns  and  sequences  than  Luther 
set  about  to  supply  the  want.  He  was  intensely  fond  of  poetry  and  song 
and  was  himself  a  poet  by  hature.  His  estimate  of  the  value  of  music  is 
revealed  in  his  words :  "He  who  despises  music,  as  all  fanatics  do,  will  never 
be  my  friend."  He  wished  that  all  children  might  be  taught  to  sing;  "for," 
he  says,  "I  would  fain  see  all  arts,  especially  music,  in  the  service  of  Him 
who  has  bestowed  and  created  them."9 

He  began  to  write  hymns  soon  after  he  had  completed  his  New  Testament 
translation  and  from  this  time  on  he  was  an  active  reformer  of  church 
music  and  hymns,  enlisting  in  the  same  work  the  large  circle  of  friends 
whom  he  gathered  about  him.  Luther  had  recourse  to  the  Latin  hymns, 
adapting  and  translating  many  of  those  which  would  lend  themselves  best 
to  his  purposes.  Altogether  he  wrote  thirty-seven  hymns,  most  of  them  dat- 
ing from  the  year  1524;  more  are  frequently  ascribed  to  him  though  on 
doubtful  authority.  Luther's  hymns  which  are  characterized  by  simplicity 
and  strength,  had  a  popular  churchly  tone ;  his  style  is  plain  and  often 
rugged  and  quaint  but  he  throws  into  his  poems  all  his  own  fervent  faith 
and  deep  devotion.  His  most  famous  hymn  "Ein'  feste  Burg  ist  unser 
Gott,"  written  in  1529  when  the  German  princes  made  their  formal  Protest 
against  the  revocation  of  their  liberties,  thus  gaining  the  name  of  Protestants, 
has  passed  into  English  hymnody  in  no  less  than  sixty-three  versions.10 

Of  the  many  hymnists  inspired  by  Luther's  example  the  more  eminent 
were  Justus  Jonas,  Luther's  friend  and  colleague  in  the  preparation  of 
metrical  German  versions  of  the  Psalms,  Paul  Eber,  the  faithful  assistant 
of  Melanchthon,  Markgraf  Albrecht  of  Brandenburg,  Hans  Sachs,  the 
shoemaker,  and  later  Gerhardt. 

"But  cf.  L.  F.  Benson:    The  English  Hymn,  N.  Y.  1915,  p.  20  ff. 

*Cf.  Tischreden:    "Von  der  Musica"   and   "Die  Musicam  sol  man  nicht  verachten." 

10  Cf.  Julian :  Dictionary  of  Hymnology,  pp.  324-5. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY  n 

The  German  hymnody  of  the  Reformation  period  was  enriched  by  the 
hymns  of  the  Bohemian  and  Moravian  Brethren,  who  as  followers  of  John 
Huss,  had  in  1467  formed  themselves  into  a  separate  and  organized  church ; 
their  archbishop  Lucas  in  1501  collected  hymns  and  published  the  first  hymn 
book  in  the  vernacular  to  be  found  in  Bohemia  or  Germany.  The  adherents 
of  this  cult  are  commonly  called  Moravians,  because  the  first  founders  of 
the  settlement  in  Saxony  immigrated  from  Moravia.  They  assumed  this 
name  in  England  and  America  and  it  is  very  largely  through  their  hymn 
book11  that  German  hymns  have  found  their  way  into  English  hymnody. 

The  Lutheran  hymnody  which  followed  closely  upon  the  Moravian  con- 
tributions concluded  its  productive  period  with  the  Formula  of  Concord12 
in  1577  which  gave  final  shape  to  the  Lutheran  creed.  In  this  period  there 
were  over  a  hundred  poets  whose  verses  have  expressed  the  highest  Christian 
praises.  It  is  an  era  which,  for  its  productiveness,  may  be  compared  with 
the  time  of  Watts  and  Doddridge  and  their  immediate  successors  in  England. 

The  hymns  from  this  time  to  the  close  of  the  Thirty  Years'  War  are  of 
a  more  subjective13  experimental  type  of  sacred  poetry,  that  is,  writers  made 
their  songs  more  and  more  expressive  of  personal  feelings.  In  point  of 
refinement  and  grace  of  style  the  hymn  writers  of  the  period  of  the  Thirty 
Years'  War,  whose  taste  was  chiefly  formed  by  the  influence  of  Martin 
Opitz14  the  founder  of  the  First  Silesian  School  of  German  poetry,  excelled 
their  predecessors.  His  finest  hymn,  "O  Licht,  geboren  aus  dem  Lichte" 
is  a  special  favorite  in  Silesia  where  he  was  born,  and  has  passed  into  Eng- 
lish in  several  translations,  notably  that  of  Miss  Winkworth,  "O  Light, 
who  out  of  Light  wast  born."15 

Near  the  close  of  the  war,  when  the  hope  of  peace  had  begun  to  dawn, 
Martin  Rinckart  (1586-1649)  composed  that  noble  expression  of  trust  and 
praise,  "Nun  danket  alle  Gott."  It  has  been  translated  many  times  and  is 
included  in  nearly  all  American  and  English  hymnals.  The  hymn  of  trust 
in  Providence  by  Neumarck  (1621-1681),  "Wer  nur  den  lieben  Gott  laszt 
walten,"  is  hardly  inferior  to  that  of  Gerhardt  on  the  same  theme.16 

The  two  most  famous  and  most  copious  hymn  writers  of  this  time  were 
however  Rist  and  Heermann ;  the  former  wrote  between  600  and  700  hymns, 
such  as  were  intended  to  supply  every  possible  requirement  of  public  wor- 
ship or  private  experience.  In  so  great  a  mass  of  writings  it  is  inevitable 
that  there  should  be  much  that  is  poor,  but  over  200  may  be  said  to  be  in 

11  Cf.  the  frequent  references  to  the  Moravian  Hymn  Book,  p.  38  ff. 

"Cf.  p.  4. 

18  Cf.  p.  14. 

11  For  his  influence  on  Gerhardt  cf.  pp.  2,  14,  18. 
"  Cf.  Christian  Singers  of  Germany,  p.  173. 
""Befiehl  du  deine  Wege,"   cf.  p.  114  ff. 


common  use  in  Germany  and  at  least  fifteen  have  appeared  in  the  hymn 
books  of  English-speaking  countries.  Not  so  prolific  as  Heermann  and 
Rist  but  superior  to  them  in  poetical  genius  was  Simon  Dach  (1605-1659), 
who  was  Professor  of  Poetry  at  Konigsberg  and  the  most  important  poet 
of  the  Konigsberg  School.17 

While  the  Lutheran  churches  were  superior  to  the  Reformed  churches 
of  Germany  and  Switzerland  in  original  hymnody,  they  were  inferior  to 
them  in  the  matter  of  psalmody.  Zwingli  and  Calvin  held  firmly  to  the 
principle  that  in  public  worship  the  word  God  should  have  supreme 
dominion,  a  principle  which  raised  the  Psalter  to  new  dignity  and  power. 
Versified  versions  of  the  Psalms  became  the  first  hymn  books  of  the 
Reformed  Churches.18  The  first  German  Reformed  hymn  book  appeared 
at  Zurich,  1540.  It  contained  not  only  versified  psalms  but  also  hymns,  with 
a  preface  in  defense  of  congregational  singing.  The  most  popular  collec- 
tion however  was  the  versified  Psalter  of  Lobwasser  of  Konigsberg.  While 
its  poetry  is  but  a  poor  translation  of  the  French  Psalter  of  Marot  and 
Beza,19  its  pious  contents  made  it  a  rich  source  of  devotion  for  a  hundred 
years.  It  is  a  parallel  to  the  Scottish  Psalter  of  1641  by  Francis  Rous.20 

Simon  Dach  was  the  last  poet  of  any  note  to  write  in  the  Reformation 
period  of  German  hymnody.  After  him  a  new  era  of  poetry,  the  Confes- 
sional (1648-1680),  opens  and  it  is  at  this  time  that  Paul  Gerhardt  appears. 
He,  however,  although  living  in  the  midst  of  this  churchly  atmosphere, 
profound  in  Lutheran  orthodoxy,  feels  the  tendencies  of  a  still  later  period, 
that  of  the  Devotional  era.  Like  many  other  great  men  he  saw  beyond  his 
time.  He  combined  in  his  poems  all  the  strong  qualities  of  the  century  in 
which  he  lived,  and  of  the  later  epoch,  the  period  of  the  Pietists. 

17  Of  the  165  hymns  that  he  wrote,  five  have  found  places  in  modern  English  hymnals. 
One  of   the  best  known  popular   songs   is   his   love-song   written   in   East   Prussian 
dialect  "Anke  von  Tharaw."    This  is  made  familiar  to  English  readers  through  Long- 
fellow's translation,   "Annie  of  Tharaw." 

18  For  their  effect  on  English  hymnody  cf.  p.  28  ff. 
»Cf.  p.  29. 

20  Cf .  Julian  :   Dictionary  of  Hymnology,  p.  1023. 


CHAPTER  III. 

CHARACTERISTICS  OF  GERHARDT  AS  A  HYMN  WRITER. 

FROM  the  close  of  the  Thirty  Years'  War  until  1680  there  occurred  in 
German  hymnody  a  transition  from  the  churchly  and  confessional  to 
the  pietistic  and  devotional  hymns.1  It  is  during  this  transitional  period 
that  the  religious  song  of  Germany  finds  its  purest  and  sweetest  expression 
in  the  hymns  of  Paul  Gerhardt,  who  is  as  much  the  typical  poet  of  the 
Lutheran,  as  Herbert  is  of  the  English  church.  In  Gerhardt  more  than 
in  any  other  author  all  the  requisites  for  the  religious  poem  are  united. 
He  possessed  a  firm  conviction  of  the  objective  truth  of  the  Christian  doc- 
trine of  salvation  and  also  a  genuine  sentiment  for  all  that  is  purely  human. 
His  deep  Christian  feeling  together  with  sterling  good  sense,  and  a  fresh 
and  healthy  appreciation  of  life  in  the  realm  of  nature  and  in  the  intellectual 
world  are  the  sources  for  his  splendid  work.  His  hymns  are  among  the 
noblest  contributions  to  sacred  poetry,  giving  him  a  place  second  only  to 
Luther  and  even  surpassing  Luther's  work  in  poetic  fertility.  Gervinus 
says  of  him  :2 

"He  went  back  to  Luther's  most  genuine  type  of  hymn  in  such  a  manner 
as  no  one  else  had  done,  only  so  far  modified  as  the  requirements  of  his  time 
demanded.  In  Luther's  time  the  belief  in  Free  Grace  and  the  work  of 
the  Atonement  in  Redemption  and  the  bursting  of  the  gates  of  Hell  was  the 
inspiration  of  his  joyful  confidence ;  with  Gerhardt  it  is  the  belief  in  the 
Love  of  God.  With  Luther  the  old  wrathful  God  of  the  Romanists  assumed 
the  heavenly  aspect  of  grace  and  mercy ;  with  Gerhardt  the  merciful 
Righteous  One  is  a  gentle  loving  man.  Like  the  old  poets  of  the  people 
he  is  sincerely  and  unconstrainedly  pious,  naive  and  hearty ;  the  blissf ulness 
of  his  faith  makes  him  benign  and  amiable;  in  his  way  of  writing  he  is  as 
attractive,  simple  and  pleasing  as  in  his  way  of  thinking." 

Scherer3  gives  an  even  clearer  characterization  of  the  two  hymn  writers : 

"Geistlicher  Ernst  des  Vortrags  schlieszt  Heiterkeit  des  Gemiites  nicht 
aus,  und  diese  bildet  in  der  That  den  sittlichen  Grundcharakter  von  Ger- 
hardts  Poesie.  Wenn  bei  Luther  die  Welt  voll  Sturm  und  Gewitter  ist, 
so  liegt  sie  bei  Gerhardt  in  bestandigem  Sonnenglanz ;  die  Wohltaten  des 

1  Or  as  the  German  says :    From  the    "Bekenntnislied"    to  the   "Erbauungslied." 

2  Geschichte  d.  d.  Nationallitteratur,  ed.  1842,  Pt.  Ill,  p.  366. 

3  Geschichte  d.  d.  Literatur,  1899,  pp.  340-341. 


,4  PAUL  GERHARDT  AS  A  HYMN  WRITER 

Schopfers  erfreuen  das  Herz;  alles  1st  so  schon  zum  Besten  der  Menschen 
eingerichtet;  Tod  und  Holle  haben  langst  ihre  Macht  verloren;  die  Seele 
frohlockt  in  der  Gewiszheit  der  Erlosung;  Gnade  geht  vor  Recht  Zorn 
musz  der  Liebe  weichen.  Luther  steht  wie  ein  Mann  dem  Bosen,  Gerhardt 
sieht  wie  ein  Jungling  daruber  hinweg;  und  schlieszlich  weisz  er  zu  trosten 
und  Zufriedenheit,  Geduld  zu  predigen,  das  rechte  Mittelmasz  zu  preisen 
und  auch  dem  Uebel  gute  Seiten  abzugewinnen ;  selbst  die  Sunde  dient  zum 
Heil  Bei  Luther  ruft  die  Gemeinde  zu  Gott,  bei  Gerhardt  redet  der  Hm- 
zelne  Seine  Lyrik  ist  nicht  mehr  Chorpoesie ;  sie  beschrankt  sich  nicht  auf 
das  worin  alle  betenden  Christen  einig  sind;  sie  holt  aus  der  Tiefe  des 
individuellen  Seelenlebens  ihre  Schatze;  sie  macht  (urn  die  Schulausdrucke 
zu  gebrauchen)  den  Uebergang  vom  objektiven  Bekenntmshede  zum  sub- 
jektiven  Erbauungslied." 

Gerhardt  sings  his  hymns  with  conviction,  embodying  in  them  such 
phases  of  feeling  as  might  be  experienced  by  any  large  body  of  sincere 
Christians.  In  all  the  religious  lyrics  even  in  the  congregational  hymns 
from  the  middle  of  the  seventeenth  century  on  we  note  a  more  personal 
and  individual  tone  and  with  it  a  tendency  to  reproduce  special  forms  of 
Christian  experience  often  of  a  mystical  character.  Gerhardt's  whole  tone 
and  style  of  thought  belong  to  the  confessional  school,  but  the  distinct 
individuality  and  expression  of  personal  sentiment  which  are  impressed  on 
his  poems  already  point  to  the  devotional  school. 

Many  of  our  poet's  hymns  show  the  influence  of  Opitz'  Trostgedichte  in 
Widenvartigkeit  des  Krieges.  Critics4  have  gone  so  far  as  to  say  that 
"without  Opitz  there  would  be  no  Gerhardt."  There  can  be  no  doubt  but 
that  the  smoothness  and  elegance  of  form,  the  complete  mastery  of  technique 
and  the  purity  of  language  are  a  distinct  heritage  from  him.  But  without 
consciously  differing  from  Opitz  and  his  school,  Gerhardt  has  brought  into 
prominence  the  popular  expression  of  feeling,  using  the  popular  form  of 
verse  in  which  there  prevails  the  natural  flow  of  rhythm,  so  that  no  striving 
after  correctness  of  form  is  evident. 

Compared  with  most  authors  of  his  time  Gerhardt  wrote  but  little.  His 
contemporary,  Rist  (1607-1667),  and  his  successor,  Schmolk  (1672-1737), 
composed  respectively  659  and  1188  hymns,  while  Gerhardt  has  the  modest 
number  of  132  poems  in  all.5  Yet  a  complete  hymnal  might  be  compiled 
from  them,  so  thoroughly  do  they  embrace  all  religious  and  domestic  experi- 
ences. They  appeared  at  intervals  from  the  year  1649  on>  many  of  them 
for  the  first  time  in  the  Praxis  pietatis  mettca,  a  collection  of  hymns  and 
tunes  by  Johann  Criiger,  the  famous  organist  and  composer  of  chorals. 

4  Cf.  J.  Smend :  "P.  Gerhardt  u.  das  evangel.  Kirchenlicd"  in  "Der  Protestantismus 
am  Ende  des  19.  Jahrh."  I,  pp.  301,  ff. 

'Among  them  are  18  poems  for  occasions,  27  founded  on  Psalms  and  24  founded 
on  other  parts  of  Holy  Scripture. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY  15 

Criiger  died  in  the  year  1662  and  Cristoph  Runge  took  over  further  edi- 
tions of  the  book.  Gerhardt  made  no  further  contributions  to  these  publica- 
tions because  henceforth  he  became  more  intimately  associated  with  Johann 
Georg  Ebeling,  Criiger's  successor  in  his  church  and  organ  work.  Ebeling 
was  so  much  pleased  with  Gerhardt's  hymns,  that  he  at  once  began  to  set 
them  to  music  and  eventually  he  published  them  dividing  them  by  "dozens"6 
into  separate  books.  Gerhardt  put  at  Ebeling's  disposal  the  first  copy  of 
his  hymns  hitherto  published  and  also  thirty-one  separate  strophes  which 
had  for  various  reasons  been  omitted  in  previous  editions.  Finally  he  turned 
over  to  him  twenty-six  more  poems  which  the  Praxis  pietatis  melica  had 
not  published  up  to  this  time.  Among  them  are  a  number  which  in  all 
probability  belong  to  his  early  period  of  poetic  activity,  such  as :  "O  Tod, 
O  Tod,  du  greulichs  Bild,"  a  paraphrase  of  one  of  Rober's7  hymns.  Also 
among  them  are  several  which  from  content  and  form  must  be  regarded 
as  products  of  his  mature  years,  and  from  which  the  poet  himself  derived 
much  comfort  and  strength.8 

b  The  tenth  and  last  "dozen"  of  Gerhardt's  hymns  which  Ebeling  had  set  to  music 
for  four  voices  and  with  an  accompaniment  of  two  violins  and  a  bass,  appeared  in 
1667.  The  full  title,  characteristic  of  Ebeling,  reads :  Paul  Gerhardt's  spiritual  devo- 
tions, consisting  of  one  hundred  and  twenty  hymns,  collected  into  one  volume,  at  the 
request  of  a  number  of  eminent  and  distinguished  gentlemen;  first  to  the  honor  of 
the  Divine  Majesty  and  then  also  for  the  consolation  of  esteemed  and  distressed 
Christendom,  and  for  the  increase  of  the  Christianity  of  all  believing  souls — in  sets 
by  dozens,  embellished  with  melodies  for  six  parts."  With  such  eagerness  were  these 
hymns  sought  after  that  Ebeling  had  to  publish  a  new  edition  two  years  later.  The 
melodies  which  proved  most  popular  were  those  set  to  "Voller  Wunder,  voller  Kunst," 
"Schwing  dich  auf  zu  deinem  Gott"  and  "Warum  sollt'  ich  mich  denn  gramen." 
Each  single  dozen  was  again  dedicated  to  a  particular  class  of  men  with  a  character- 
istic preface.  The  first  dozen  he  dedicated  "to  the  prelates,  counts,  lords,  knights, 
and  estates  of  the  Electorate  of  Brandenburg,  this  side  the  Oder  and  beyond  the 
Elbe" ;  the  second  dozen,  "To  the  high,  noble-born,  honored,  and  virtuous  women 
of  Berlin"  and  so  on. 
7  Cf.  pp.  I  and  2. 

8  "Die  giildne  Sonne"    Goed.  293. 

"Der  Tag  mit  seinem  Lichte"   Goed.  296. 

"Wie  schon  ists  doch,  Herr  Jesu  Christ"    Goed.  302. 

"Voller  Wunder,  voller  Kunst"    Goed.  304. 

"Gib  dich  zufrieden  und  sei  stille"    Goed.  274. 

"Ich  bin  ein  Cast  auf  Erden"   Goed.  284. 

"Herr,  du  erforschest  meinen  Sinn"   Goed.  287. 

"Herr  Gott,  du  bist  ja  fur  und  fur"   Goed.  315. 

"Ich  danke  dir  mit  Freuden"  Goed.  333. 

"Ich,  der  ich  oft  in  tiefes  Leid"  Goed.  298. 

"Johannes  sahe  durch  Gesicht"   Goed.  319. 

"Mein  Seel  ist  in  der  Stille"   Goed.  307. 

"Merkt  auf,  merkt  Himmel,  Erde"   Goed.  278. 


,6  PAUL  GERHARDT  AS  A  HYMN  WRITER 

The  most  important  fact  about  the  Ebeling  edition  is  this,  that  the  per- 
sonality of  Gerhardt,  the  poet,  was  for  the  first  time  presented  to  the  German 
people's  heart  and  mind.  Hitherto  his  poems  had  been  grouped  together 
in  collections  of  hymns  with  those  of  other  and  perhaps  better  known 
authors.  Ebeling's  publication  placed  Gerhardt's  works  on  their  own  merit. 
The  texts  of  the  hymns  in  the  editions  of  Cruger  and  Ebeling  and  later 
of  Feustking9  in  1707  have  often  different  readings  so  that  it  is  difficult  to 
determine  which  the  authentic  version  may  be.  It  is  quite  within  the  limits 
of  possibility  that  Gerhardt  himself  undertook  revisions,  as  Feustking's  title 
indicates. 

Of  these  132  poems  a  large  proportion  have  become  embodied  in  church 
music  of  Germany  and  many  of  them  may  be  counted  among  the  most 
beautiful  in  German  hymnody.  How  widely  they  have  been  adopted  into 
general  use  is  shown  by  the  fact  that  in  modern  hymnals  in  Germany  there 
appear  either  in  expanded  or  cento  form,10  altogether  78  of  his  hymns, 
while  in  the  Schaff-Gilman  "Library  of  Religious  Poetry,"  which  may  be 
regarded  as  a  representative  collection  of  universal  hymnody,  the  propor- 
tion among  German  hymn  writers  is  as  follows : — Luther  10,  Goethe  8, 
Gerhardt  7,11  Spitta  6,  Scheffler  4,  Schmolk  4,  etc.  Pietism  and  rationalism 
transferred  the  centre  of  gravity  in  hymnody  to  a  different  point;  that  is, 
it  changed  the  type  of  hymn  or  required  of  it  other  features,  and  thus  it  is 
that  during  the  XVIIIth  century,  while  Gerhardt's  hymns  lived  on  with 
others  they  are  rarely  accorded  a  leading  place.  It  was  only  the  reawaken- 
ing of  a  life  of  faith  that  needed  worship  and  strong  evidence  of  reverence 
such  as  followed  the  wars  of  liberation  that  brought  his  hymns  into  the 
forefront  once  more  and  prompted  further  publications  of  them. 

Rarely  has  there  been,  taking  all  in  all,  a  time  when  there  existed  a 
greater  gulf  between  poets  and  their  effusions  than  in  the  XVIIth  century. 
Most  poets  of  that  time  gave  forth  what  they  had  learned  and  what  they 
knew, — not  what  they  really  were.  Theirs  was  a  play  of  the  intellect  and 
imagination  on  objects  outside  them.  Hence  their  works  displayed  a  uni- 
versal lack  of  inner  truth.  In  the  biographical  sketch  of  Gerhardt  we  have 
given  a  broken  account  of  his  life.  Different  from  this  is  the  story  of  the 
individual  in  his  poems  which  are  his  very  personality.  His  work  is  not 
what  he  learned  from  others.  Instead,  he  gives  us  his  own  life  unadorned 

"Johann  Heinrich  Feustking:  Ausgabe,  Zerbst,  1707,  text  "nach  des  seligen  Autors 
eigenhandigem  revidirten  Exemplar  mit  Fleisz  iibersehen." 

Cf.  Dietz:  "Tabellarische  Nachweisung  des  Liederbestandes"  Marburg,  1904. 
Fischer-Tumpel :  "Das  deutsche  evangelische  Kirchenlied  des  17.  Jahrhs."  (Giitersloh, 
1906)  includes  116  of  Gerhardt's  hymns. 

11  There  is  an  exact  total  of  10  of  Gerhardt's  poems,  different  versions  being  given 
1  Haupt  voll  Blut  und  Wunden,"  and  "Befiehl  du  deine  Wege." 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY  17 

and  true,  and  for  the  very  reason  that  he  leads  a  rich  inner  life  is  he  able 
to  give  it.  He  wrote  preeminently  as  a  living  member  of  Christ's  church. 
The  same  quiet  sincerity,  depth  of  feeling  and  warmth  that  are  seen  in  his 
face,  stand  out  in  his  poetry. 

Luther  sang:  "Em'  feste  Burg  ist  unser  Gott,"  but  Gerhardt  has:  "1st 
Gott  fur  mich,  so  trete,"12  and  "Ich  singe  dir  mit  Herz  und  Mund.13  Thus, 
as  has  been  said  in  the  early  part  of  this  chapter,14  the  hymns  no  longer 
acknowledge  the  truths  of  the  Gospel  as  in  the  days  of  the  Reformation,  but 
the  poet  lives  them.  Approximately  one-eighth15  of  Gerhardt's  hymns  begin 
with  "Ich,"  while  not  one  of  Luther's  begins  this  way.  Gerhardt's  hymns, 
then,  proclaim  his  own  personal  experiences,  many  of  them  having  their 
inspiration  in  the  intimate  circle  of  his  own  family  and  friends.  Yet 
observe  that  in  none  of  them  is  there  any  personal  experience  that  is  not 
enlightened  by  its  relation  to  the  external  truths  of  Christian  Belief  so  that 
it  has  a  universal  significance.  Assuming  that  one  takes  for  granted  the 
incontestable  truth  of  evangelistic  Philosophy  of  Life  as  does  Gerhardt, 
one  may  find  one's  own  thoughts  and  feelings  expressed  in  these  poems. 
Every  pious  worshipper  can  follow  Gerhardt,  every  one  may  find  in  him 
peace  for  the  soul,  the  consecration  of  happiness  and  comfort  in  dark  hours. 
Universal  life  and  not  merely  the  life  of  one  reared  in  the  church  is  unfolded 
in  his  hymns. 

Mention  has  several  times  been  made  of  Luther16  in  connection  with 
Gerhardt.  Every  Protestant  hymn  writer  must  undergo  comparison  with 
the  great  father  of  German  hymnody  and  none  can  stand  the  test  better 
than  Gerhardt.  Let  us  take  the  hymns  cited  above :  "Ein' feste  Burg,"  and 
"Ist  Gott  fur  mich."  In  the  very  choice  of  material  the  likeness  is  striking. 
In  Luther's  song  of  defiance  the  XLVIth  Psalm  is  born  anew.  In  Gerhardt 
it  is  the  triumphant  song  of  Paul  that  they  who  are  in  Christ  are  free  from 
condemnation.  We  see,  then,  that  while  the  one  is  concerned  with  the 
congregation  of  God's  church,  the  other  treats  of  life's  experiences.  In  the 
form  of  the  verse  Luther  displays  the  greater  strength  and  Gerhardt 
the  greater  art. 

Although  Gerhardt's  hymns  are  written  in  the  vernacular  of  the  XVIIth 
century,  at  a  time  when  many  of  the  forms  characteristic  of  the  writers  of 
the  two  preceding  centuries  still  survived,  nevertheless  his  hymns  are 
remarkably  free  from  the  tendency  of  this  period  to  use  words  coined  from 
foreign  tongues.  He  belongs  to  no  poetic  school  or  literary  circle  of  the 

12  Goed.  22g. 
13Goed.  118. 

14  Cf.  p.  14. 

15  There  are  16  beginning  with   "ich." 

16  Cf .  pp.  i  and  13. 


1 8  PAUL  GERHARDT  AS  A  HYMN  WRITER 

XVIIth  century.  He  never  sought  any  laurels.  He  goes  on  his  way  writ- 
ing because  his  heart  is  so  full,  and  not  from  any  desire  or  intention  to 
devote  himself  to  poetry.  A  fine  feeling  for  rhythm  schooled  under  the 
principles  of  Opitz,  language  taken  from  the  best  sacred  literature  including 
Luther's  Bible  and  almost  entirely  free  from  foreign  words,17  avoidance  of 
bombast  and  coarseness18  of  which  so  many  contemporary  writers  were 
guilty,  richness  in  figures  and  analogies,  tenderness  which  on  occasion  yields 
to  sternness,  are  all  attributes  of  his  writing.  The  mother  of  Hippel19  says 
of  him : 

"Er  war  ein  Cast  auf  Erden20  und  iiberall  in  seinen  120  Liedern  ist  Son- 
nenwende  gesiiet.  Diese  Blume  dreht  sich  bestandig  nach  der  Sonne21 
und  Gerhardt  nach  der  seligen  Ewigkeit." 

Gerhardt's  poems  are  all  permeated  with  this  hope  for  future  happiness 
in  Heaven  and  with  a  childlike  joy  in  this  hope.  He  may  sing  of  the  beau- 
ties of  summer,  yet  with  that  his  thoughts  go  further  and  he  soon  begins 
to  reflect  upon  the  greater  beauties  of  Heaven.  In  his  "Reiselied"  (Goed. 
248)  he  begins  by  urging  on  his  horse;  suddenly  he  changes  from  the 
beauties  of  the  hill  and  vale  to  the  joy  of  eternity.  Even  in  an  uncouth 
poem  about  health  (Goed.  244)  appear  the  lines: 

"Gib  mir  meine  Lebenszeit 
Ohne  sonderm  Leide, 
Und  dort  in  der  Ewigkeit 
Die  vollkommene  Freude !" 

We  have  said  that  biblical  phraseology  plays  a  large  part  in  Gerhardt's 
hymns.  In  fact  many  lines  are  a  direct  translation  of  passages  in  scripture. 
In  two  or  three  of  them  a  single  dogma  appears  very  plainly,  but  elsewhere 
pure  doctrine  is  the  basis  of  each  poem.  God  is  a  friendly  and  gracious 
God,  not  a  "bear  or  lion,"22  but  a  Father  reconciled  by  Christ's  death, — 
entirely  a  New  Testament  conception.  He  even  addresses  the  Almighty 
as  a  good  companion : 

"Sollt  aber  dein  und  unser  Feind 

An  dem,  was  dein  Herz  gut  gemeint, 

Beginnen  sich  zu  rachen : 

Ist  das  mein  Trost,  dasz  seinen  Zorn 

Du  leichtlich  konnest  brechen."23 

17  He  uses  the  following :  Clcrisei,  Fantasei,  Victoria,  Policeien,  Regiment,  Summa, 
Rancion,  Compagnie,  Regente,  studieren,  formieret,  vexieren,  jubilieren. 

"Lines  such  as  "Trotz  sei  dir,  du  trotzender  Kot!"  (Goed.  5,  65)  were  compara- 
tively inoffensive  to  XVIIth  century  standards. 

19  Cf.  Frau  Th.  v.  Hippel,   "Sammtliche  Werke,"   Berlin,  1827,  I,  27  ff. 
"  Cf.    "Ich  bin  ein  Cast  auf  Erden"    Goed.  284. 
I  Sonnenwende,    "heliotrope,"    from  the  Greek,  literally    "turning  toward  the  sun." 

Cf.  Goed.  62,  17— "Er  ist  ja  kein  Bar  noch  Leue." 
*  Cf.  Goed.  217,  56-60. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY  19 

The  Redeemer  is  mentioned  in  barely  half  of  Gerhardt's  poems.  It  has 
therefore  been  often  said  that  the  poet  esteemed  the  graces  of  Redemption 
less  than  those  of  Creation.  He  is  fully  conscious  of  the  former,  hence  he 
can  resign  himself  to  the  latter  and  dwell  upon  them  in  all  their  phases.  On 
the  basis  of  the  Atonement  there  springs  up  in  his  mind  the  whole  Christian 
life  with  all  its  experiences  of  salvation,  consolation,  patience,  mastery  of 
sin  and  suffering.  Since  he  does  not  sing  solely  for  church  worship,  but 
for  family  devotion  and  for  personal  edification,  he  necessarily  must  observe 
and  discourse  upon  the  various  vicissitudes  of  life  in  sickness  and  health, 
in  strife  and  peace. 

Inasmuch  as  Gerhardt  is  a  poet  of  unusually  fine  feeling  for  the  rhythmical 
and  melodious  peculiarities  of  the  German  tongue,  he  appreciates  the  inter- 
dependence of  verse  rhythm  and  thought  showing  always  a  nicety  in  choos- 
ing the  right  word  to  suit  the  measure.  The  lines : 

"Nun  ruhen  aller  Walder, 
Vieh,  Menschen,  Stadt,  und  Felder  .    .    ."'* 

are  at  once  suggestive  of  Nature  in  repose.  The  harmonious  connection  of 
words  of  kindred  meaning,  "Ruh  und  Rast,"  "Gnad  und  Gunst,"25  and 
frequent  use  of  assonance,  "Not  und  Tod,"  "Full  und  Hull,"  etc.  are 
introduced  not  merely  to  catch  the  ear,  but  to  accentuate  the  artistic  effect, 
which  shows  us  that  Gerhardt  is  more  than  a  master  of  the  language,  that 
he  writes  with  an  inexhaustible  naturalness.  He  intended  his  style  to  be 
popular  in  the  sense  of  appealing  to  the  people,  and  it  is  here  that  he  mani- 
fests the  intimate  relation  of  his  poetry  to  the  Volkslied  without  forsaking 
the  proper  limits  of  artistic  poetry. 

In  observing  certain  defects   such  as   the  awkwardness  and  imperfect 

rhyme  in  the  couplet: 

"Aber  nun  steh  ich 
Bin  munter  und  frolich."26 

even  Gerhardt's  most  devoted  admirers  must  regret  that  he  did  not  feel  the 
necessity  of  giving  to  his  verses  the  final  rounding-off,  or  did  not  possess 
the  ability  to  do  so.  Yet  what  many  critics  have  regarded  as  faults,  must, 
when  fairly  analyzed,  be  recognized  as  contributing  much  to  the  effect  and  as 
being  in  accord  with  the  Sprachpoesle  of  the  people.  For  example,  the  rich- 
ness in  alliteration,  "Ich  mein  Heil  und  Hiilfe  hab,"27  "Ich  lechze  wie  ein 
Land,"28  the  juxtaposition  of  words  of  the  same  root,  "Erbarm  dich,  o 

24  Goed.  60,  i  and  2. 

25  For  a  tabulation  of  Alliteration,  Assonance,  etc.,  cf.  Appendix,  pp.  149  if. 

26  Goed.  293,  8  and  9. 
"Goed.  93,  6. 

28  Goed.  65,  46. 


20 


PAUL  GERHARDT  AS  A  HYMN  WRITER 


barmherzigs  Herz,"29  "Ich  lieb  ihr  liebes  Angesicht,"30  as  well  as  the  fre- 
quent repetition  of  words  or  use  of  refrains31  show  the  power  of  his  lan- 
guage and  offer  a  striking  method  of  expressing  inmost  sympathy.  What 
real  fervor  is  indicated  in  the  lines : 

"Dasz  ich  dich  moge  fur  und  fur 
In,  bei  und  an  mir  tragen."32 

Just  as  Gerhardt  was  a  loyal  devotee  to  his  mother-tongue,  so  also  he  stood 
aloof  from  the  tendency  of  his  time  to  adopt  foreign  characteristics  in 
verse.  Only  twice33  has  lie  employed  the  Alexandrine  so  fashionable  in 
the  period,  and  other  foreign  verse-forms  he  avoids  entirely.  On  the  other 
hand  in  so  comparatively  small  a  number  of  poems  the  variety  of  his  verse 
structure  is  unusual.  Gerhardt  knew  Buchner34  in  his  Wittenberg  student 
days  and  owes  to  him  his  technical  training  in  versification  which  his 
strophes  show.  He  uses  in  them  iambic,  trochaic  and  especially  dactyllic- 
anapaestic  metres  which  Buchner  had  declared  permissible.  Hahne35  enu- 
merates in  Gerhardt's  poems  fifty-one  kinds  of  strophe  among  which  six  are 
quite  complicated.  Three  of  these,  as  appear  in  the  poems,  "Frolich  soil 
mein  Herze  springen,"  Goed.  155;  "Gib  dich  zufrieden,"  274;  and  "Die 
giildne  Sonne,"  293,  must  be  regarded  as  original  with  Gerhardt.  While 
these  three  are  not  artistic  and  harmonious,  they  are,  nevertheless,  in  exact 
accord  with  the  type  of  melody  prevalent  in  the  XVIIth  century. 

Our  poet  has  shown  preference  for  the  older  German  strophes  which 
belong  to  popular  poetry  and  had  most  firmly  held  their  own  in  the  spiritual 
song  because  of  its  relation  to  the  Volkslied  and  also  for  the  Nibelungen 
strophe  of  eight  lines.  Eighteen36  times  he  uses  the  well  known  seven-line 
ballad  strophe  and  twice37  the  six-lined  strophe  of  the  Wanderlied  "Inns- 
bruck, ich  musz  dich  lassen"38  which  even  as  early  as  the  Reformation  had 
come  into  wide  use  in  hymnody.  He  has  also  frequently  employed  the 
rhymed  couplet  in  the  four-lined  stanza.  The  verse-structure  in  the 
remainder  of  his  poems  may  generally  be  traced  back  to  lays  long  since 

29  Goed.  7,  76. 

30  Goed.  260,  41. 

11  Cf.  the  refrains  in  Goed.  106;    139;    235. 
m  Goed.  158.  94. 

s"Du  Hebe  Unschuld  du,  wie  schlecht  wirst  du  geacht!"  (Goed.  3)  and  "Herr 
Lindholtz  legt  sich  bin  und  schlaft  in  Gottes  Namen"  (Goed  252) 

84  Cf .  p.  2. 

85  Hahne,  F.,  P.  Gerhardt  und  A.  Buchner  in  Euphorion  15,  p.  19-34. 

MGoed.  10;  21  ;  23 ;  51 ;  125;  134;  158;  171;  190;  209;  253;  271;  298;  315;  317;  325; 
331 ;  335- 

"Goed.  60  and  71. 
"Regarding  this  melody  cf.  p.  100. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY  21 

native  to  the  church,  though  one  strophe  "Sollt  ich  meinem  Gott  nicht 
singen"39  appears  for  the  first  time,  as  far  as  we  know,  in  Johann  Rist's40 
hymns.  Realizing,  furthermore,  that  a  composition  becomes  truly  a  poem 
only  through  its  harmony  Gerhardt  clung  to  the  well  known  melodies, 
adapting  his  new  text  to  them  that  through  the  music  his  hymns  might  the 
more  easily  become  familiar.  Thus  he  composed  "Ein  Lammlein  geht  und 
tragt  die  Schuld"  to  the  melody  "An  Wasserfliissen  Babylon,"  and  "O 
Welt,  sieh  hier  dein  Leben"  and  "Nun  ruhen  alle  Walder"  to  "Innsbruck, 
ich  musz  dich  lassen,"41  and  in  fact  his  hymns  were  known  at  first  only 
through  their  musical  setting.  Like  Luther,  he  wished  to  teach  the  people 
song42  and  it  is  evident  that  in  composing  he  usually  had  some  definite 
melody  in  mind,  and  what  Johann  Walther  had  been  to  Luther,  Criiger43  was 
to  Gerhardt.  To  this  choir  master  we  owe  the  first  significant  publication 
of  our  poet's  hymns.  Many  musicians  have  adapted  his  hymns  to  music; 
Bach  made  use  of  them  in  a  number  of  his  cantatas  and  his  Passion  music,44 
and  five45  times  in  his  rapturous  Weihnachtsoratorium  do  we  find  Ger- 
hardt's  words.  Of  recent  musicians  who  have  been  interested  in  his  poetry 
as  a  basis  for  their  compositions  mention  must  be  made  of  Albert  Becher 
(d.  1899),  H.  von  Herzogenberg  (d.  1900)  and  especially  the  Bavarian 
clergyman,  Friedrich  Mergner46  (1818-1891),  who  has  so  thoroughly  caught 
the  spirit  of  Gerhardt.  As  early  as  1732-1800  six  Catholic  hymn  books  in 
quite  general  use  throughout  Germany  had  included  in  all,  thirteen  of  Ger- 
hardt's  hymns,  and  "O  Haupt  voll  Blut  und  Wunden"  can  be  heard  in 
many  Catholic  churches  to-day,  even  in  the  Cologne  Cathedral.47 

Gerhardt  was  essentially  a  "Gelegenheitsdichter,"  a  poet  of  occasions, 
choosing  for  his  themes  the  various  vicissitudes  of  life  and  such  events 
as  would  present  themselves  to  an  earnest  pastor  devoted  to  the  flock  under 
his  care.  We  may  define  him  more  precisely  as  a  poet  of  consolation,  for 
at  least  seventeen  of  his  hymns  are  to  be  classed  as  "Songs  of  the  Cross  and 
Consolation,"48  and  fully  half  his  work  contains  much  that  is  intended  as  a 
source  of  comfort  in  the  many  afflictions  of  the  troublous  times  in  which 

39  Goed.  235. 
""Rist,  1607-1667. 

41  Cf .  p.  100. 

42  Cf.  p.  10. 

43  Cf.  p.  2. 
41  Cf.  p.  43- 

45  From  Goed.  25;  310;  150;  155;  158. 

46  Cf.  P.  Gerhardt 's  Geistl.  Lieder  in  neuen  Weisen  von  Fr.  Mergner.    30  ausgewahlte 
Lieder  von  Karl  Schmidt,  Leipzig,  C.  Deichert,  1907. 

47  Cf.  J.  Smend :    P.  Gerhardt  u.  das  evangel.  Kirchenlied  in  Der  Protestantismus 
am  Ende  des  19.  Jahrh.  I,  pp.  301,  ff. 

48 Cf.  Index  by  subjects,  Appendix,  pp.  158  ff. 


22  PAUL  GERHARDT  AS  A  HYMN  WRITER 

he  lived.  An  enumeration  of  "Trost"  words  shows  the  use  of  "Trost" 
51  times,  "getrost"  11,  "trosten"  10,  "trostlos,"  "trostlich"  2,  besides 
numerous  phrases  such  as  "Erschrecke  nicht,"49  "Sei  unverzagt,"5  "Sei 
ohne  Furcht,""  "Gott  hat  mich  nicht  verlassen."32  In  this  connection  we 
should  consider  Gerhardt's  use  of  the  word  "Trost."  With  him  it  seems 
often  to  have  a  wider  meaning  than  merely  solace,  or  comfort.  At  times  it 
approaches  even  its  English  cognate  trust,  or  at  least  that  comfort  or 
assurance  which  is  born  of  trust.53  In  the  poem  beginning  "Schwing  dich 
auf  zu  deinem  Gott"  the  word  seems  clearly  to  be  used  in  this  sense  in 

line  7: 

Merkst  du  nicht  des  Satans  List? 

Er  will  durch  sein  Kampfen 
Deinen  Trost"  den  Jesus  Christ 
Dir  erworben,  dampfen. 

At  other  times  the  meaning  is  apparently  the  ground  of  confidence  or  reli- 
ance, as  in  the  line:  "Dein  Arm  ist  mein  Trost  gewesen."55  Since  joy  is 
to  Gerhardt  innately  associated  with  the  theme  of  comfort,  we  find  in  his 
verses  a  host  of  phrases  embodying  cheer  and  joy : 

Lasz  deine  Frommigkeit 

Sein  meinen  Trost  und  Freud.56 

By  enumeration  we  find  the  use  of  "Freude"  161  times ;  of  "Freudenlicht" 
(-quell,  -schein,  etc.)  33  times;  of  "freuen"  and  "erfreuen"  22  times; 
of  "froh,"  "fro(h)lich,"  "freudig,"  "freudenvoll,"  "selig,"  etc.  50  times; 
of  other  kindred  expressions,  such  as  "Lust,"  "Wonne,"  "Seligkeit," 
"Freudigkeit,"  etc.  8  times.  Stanza  VI  of  the  "Adventgesang"  (Goed. 
108)  is  a  fair  example  of  Gerhardt's  fondness  for  singing  of  joys  both 
temporal  and  spiritual : 

Aller  Trost  und  aller  Freude 
Ruht  in  dir,  Herr  Jesu  Christ ; 
Dein  Erfreuen  ist  die  Weide, 
Da  man  sich  recht  frolich  iszt. 
Leuchte  mir,  o  Freudenlicht, 
Ehe  mir  mein  Herze  bricht ; 
Lasz  mich,  Herr,  an  dir  erquicken ! 
Jesu,  komm,  lasz  dich  erblicken ! 

"Goed.  271,  8. 
M  Goed.  185,  42. 
"  Goed.  289,  3. 
K  Goed.  296,  31. 

53  Cf.  the  meaning  of  the  modern  German    "getrost." 

^4G0<?<f.  135,  7;   cf.  also  Goed.  135,  132;    30,  127;    150,  74;   217,  59;    317,  40. 
"  Goed.  145,  19;   cf.  also  Goed.  46,  16;    150,  43. 

"Goed.  65,  22.    For  the  frequent  use  of    "Trost  und  Freude"    and    "Freude  und 
Trost,"  cf.  Appendix,  p.  155  and  p.  153. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY  23 

Compare  with  this  the  lines  from  the  hymn  based  on  Johann  Arndt's 
"Gebet  um  Geduld  in  groszem  Creutz"  (Goed.  209)  : 

St.  XIV.     "O  heilger  Geist,  du  Freudenol, 
Das  Gott  vom  Himmel  schicket, 
Erfreue  mich,  gib  meiner  Seel 
Was  Mark  und  Bein  erquicket! 
Du  bist  der  Geist  der  Herrlichkeit, 
Weiszt,  was  fur  Freud  und  Seligkeit 
Mein  in  dem  Himmel  warte." 

A  pastor  and  poet  whose  spirit  amidst  the  hardships  of  the  war  can  not 
only  remain  undaunted  but  bring  so  large  a  measure  of  cheer  to  his  flock 
is  indeed  destined  to  have  an  immortal  name.  It  was  the  everpresent  hard- 
ships of  war,  however,  that  made  him  long  not  merely  for  an  earthly  peace 
but  also  for  spiritual  rest.  As  an  advocate  of  peace  and  contentment  he 
has  among  his  contemporaries  no  equal.  Having  hoped  and  prayed  during 
the  war  for  a  cessation  of  hostilities  and  horrors  he  could  at  last  burst 
forth  at  the  conclusion  of  the  Peace  of  Westphalia  in  his  magnificent 

Gott  Lob !  nun  ist  erschollen 

Das  edle  Fried-  und  Freudenswort.57 

Furthermore  he  preaches  patience  and  contentment  with  life's  experiences. 
Notably  does  this  appear  in  the  poem  "Gib  dich  zufrieden"  (Goed.  274) 
where  each  stanza  has  these  words  as  the  refrain.  Taking  as  his  theme 
"Rest  in  the  Lord,  and  wait  patiently  for  him"  (Ps.  XXXVII,  7)  he  reveals 
to  his  fellow-men  the  joys  and  comforts  that  await  the  true  believers  even 
though  they  must  pass  through  pain,  anxiety,  and  even  death.  As  their 
tears  are  counted  and  their  sighs  are  heard,  so  a  day  of  rest  is  at  hand 
when  God  shall  receive  the  meek  in  the  abundance  of  peace,  and  'they 
shall  then  be  exalted  to  inherit  the  land.'58  But  how  very  deeply  Gerhardt 
felt  this  yearning  for  spiritual  as  well  as  material  peace  is  best  seen  from 
the  constant  recurrence  of  the  root  "Friede."  Of  this  word  and  its  com- 
pounds we  note  33  examples,  and  of  "Ruhe,"  "Stille,"  Rast"  and  similar 
words,  16. 

Aside  from  the  hymns  of  Cross  and  Consolation  discussed  above,59  which 
among  Gerhardt's  poems  are  by  far  the  most  numerous,  and  which  gave 
him  the  widest  opportunity  to  grasp  the  inner  life  of  the  Christian  believer 
in  its  different  tendencies  and  phases,  the  subjective  development  of  his 
spiritual  songs  is  shown  in  two  directions — in  the  poetic  glorification  of 

67  Goed.  95. 

58  Cf.  also  the  poem    "Geduld  ist  euch  vonnoten"   (Goed.  267),  where  each  of  the 
14  stanzas  begins  with  the  word   "Geduld." 

59  Cf.  p.  21. 


24 

nature  and  of  family  life.  Gerhardt's  knowledge  of  nature  is  limited  to 
the  ideas  set  forth  in  Johann  Arndt's60  Viertes  Buck  vom  wahren  Christ  en- 
tum  Following  Arndt,  Gerhardt  believes  the  material  as  well  as  the  spirit- 
ual phenomena  on  earth  are  influenced  in  a  mysterious  way  by  the  heavens 
and  their  constellations;  hence  the  prophetic  significance  of  comets  which 
he  mentions  in  two  poems.61  In  the  year  1618  just  such  a  threatening 
"torch"  had  appeared  to  announce  the  frightful  war.  Fourteen  years  later 
another  comet  was  regarded  as  prophecy  of  the  death  of  the  Swedish  King. 
Naturally,  then,  in  1652  Gerhardt  is  terrified  with  all  others  at  the  appear- 
ance in  the  sky  of  the  third  "Flammenrute"  (Goed.  104). 

However,  within  this  limited  knowledge  nature  appears  to  him  as  of  inde- 
pendent grandeur,  wholly  subservient  to  God  and  freely  enjoyed  by  all 
Christians.  In  his  life,  too,  as  well  as  in  his  songs,  Gerhardt  is  open  to  all 
the  world  and  is  at  all  times  sensible  to  the  appreciation  of  nature.  It  is 
a  noteworthy  characteristic  of  him  that  in  one  glance  he  includes  with 
sense  of  fitness  and  artistic  certainty  both  large  and  small,  the  most  sublime 
and  the  most  commonplace.  In  this  wise  he  sings : 

Die  Erd  ist  fruchtbar,  bringt  herfiir 
Korn,  Oel,  Most,  Brot,  Wein  und  Bier, 
Was  Gott  gefallt. 

(Goed.  139,  49  ff.) 

To  Gerhardt  the  world  lies  in  continual  sunshine.62  He  scorns  trouble, 
distress  seems  merely  to  accentuate  happiness;  from  the  horrors  of  the 
Thirty  Years'  War  he  turns  to  thank  God  for  the  return  of  peace,63  and 
to  inspire  his  people  with  gratitude  for  the  infinite  mercy  of  the  Most  High. 
He  celebrates  evening  and  morning  and  takes  us  in  summer  through  the 
flowering  gardens  of  God,  portrays  rain  and  sunshine,  earth's  sorrows  and 
joys. 

The  other  direction  of  the  subjectivity  of  Gerhardt's  writing  is  that  of 
the  family  life.  In  a  time  so  bereft  of  virtues  as  the  XVIIth  century  the 
firmly  grounded  idea  of  the  home  must  be  given  first  place.  His  own  family 
life,  cheered  by  domestic  felicity,  and  the  many  contributions  he  made  to 
occasional  poetry  bear  testimony  to  this.  For  married  life  he  sings  the 

"Job.  Arndt,  a  Protestant  theologian,  1555-1621.  The  "Vier  Biicher"  appeared  in 
1605.  Cf.  the  references  on  pp.  63  ff.  to  his  Paradissgdrtlein  aller  christl.  Tugenden, 
1612. 

"  Goed.  104  and  142. 

"Even  no.  15  which  begins  with  a  seemingly  very  pessimistic  complaint  about  the 
disastrous  weather  and  consequently  meagre  harvest  closes  with  a  prayer  full  of  hope 
for  the  future. 

63  Goed.  95. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY  25 

praise  of  quiet  domesticity,64  picturing  the  Christian  housewife  in  the  midst 
of  her  surroundings,  bringing  joy  and  cheer  to  her  husband,  faithful  in  her 
tasks,  ministering  to  the  poor  and  teaching  her  children  the  Word  of  God. 
He  closes  the  poem  with  the  eulogy: 

Die  Werke,  die  sie  hie  verrichtt, 
Sind  wie  ein  schones  belles  Licht ; 
Sie  dringen  bis  zu  Himmelspfort 
Und  werden  leuchten  bier  und  dort. 

Before  Gerhardt,  Mathesius65  had  sung  the  praises  of  domestic  happiness 
in  "Wem  Gott  ein  ehrlich  Weib  beschert,"  but  the  sincere  note  of  Ger- 
hardt's  "Wie  schon  ist's  doch,  Herr  Jesu  Christ"  (Goed.  302)  placed  Ger- 
man home-life  in  a  poetic  light  it  had  not  known  before. 

For  the  dying  he  allays  the  fear  of  death ;  man  is  but  a  stranger  on 
earth66  and  has  spent  many  a  day  in  distress  and  care;  his  home  is  yonder 
where  hosts  of  angels  praise  the  Mighty  Ruler.  The  sympathetic  pastor 
takes  his  place  with  the  parents  beside  the  bier  of  their  deceased  child.67 
He  speaks  as  a  father  who  has  lost  his  son,  and  he  imagines  the  child  in 
heaven  joining  the  chorus  of  the  angels.  But  Gerhardt  has  written  very 
few  hymns  of  death  or  of  penitence.  When  he  does  speak  of  sin  and  its 
curse  of  death  with  its  terrors,  he  still  contrives  at  once  to  take  from  them 
the  sting.  The  poem  beginning  "O  Tod,  O  Tod,  du  greulichs  Bild,"68 
bears  the  title  "Freudlge  Empfahung  des  Todes,"  and  concludes  with  the 

lines : 

Was  soils  denn  nun,  O  Jesu,  sein, 

Dasz  mich  der  Tod  so  schrecket? 

Hat  doch  Elisa  Todtenbein, 

Was  todt  war,  auf erwecket : 

Viel  mehr  wirst  du,  den  Trost  hab  ich, 

Zum  Leben  kraftig  riisten  mich ; 

Drum  schlaf  ich  ein  mit  Freuden. 

In  hymnody  both  before  and  since  Gerhardt  there  has  often  been  a  vivid 
portrayal  of  the  tortures  of  hell  to  terrify  the  soul.  Gerhardt  scrupulously 
avoids  this  and  is  therefore  able  to  reduce  everything  to  the  simplicity  of 
beauty.  Every  pain  and  every  punishment  in  which  his  poems  abound  at 
once  lose  their  bitterness  because  on  them  is  reflected  the  sunlight  of  God's 
love.  Gerhardt  towers  above  his  time  in  that  amid  all  his  despondent  fel- 
low-men he  is  always  fearless  and  shows  a  cheerful  heart  reliant  on  God; 

64  Goed.  242. 

^Johann  M.,  a  Lutheran  theologian,  1504-1565.  His  Leben  Luthers  (1566)  is  his 
most  famous  work. 

86 "Ich  bin  ein  Gast  auf  Erden"  (Goed.  284). 
7"Weint;    und  weint  gleichwol  nicht  zu  sehr"   (Goed.  335). 
68  Goed.  317- 


26  PAUL  GERHARDT  AS  A  HYMN  WRITER 

just  because  the  severe  afflictions  of  his  own  life  cannot  break  his  spirit, 
he  has  in  his  power  the  cure  for  others. 

The  candid  reader  must  admit  that  there  is  evident  in  some  passages  of 
Gerhardt's  poetry  a  certain  dogmatic  constraint,  ("Gebundenheit").  The 
devil69  is  to  him  a  terrible  reality,  the  Christchild  in  the  manger  is  the 
creator70  of  the  world,  and  the  problem  of  the  Trinity  is  dismissed  without 
consideration.  The  Atonement,  too,  of  the  Savior  is  easily  understood  on 
the  theory  of  punishment,  while  the  resurrection71  of  the  flesh  is  an  undeni- 
able truth.  But  in  other  respects  Gerhardt  is  far  less  dogmatic  than  Luther. 

Critics  have  sought  in  vain  for  traces  of  poetic  development  in  Gerhardt's 
work.  Such  findings  as  have  been  claimed  can  be  regarded  only  as  more 
or  less  probable  conjecture,  a  fact  which  shows  that  his  personality  was 
immediately  poetically  endowed,  giving  itself  out  whenever  it  composed 
poetry.  If  his  individuality  shows  no  development  as  such,  his  poetry  can 
bear  no  marks  of  development. 

It  has  often  been  said,  that  "Gerhardt  had  and  sought  no  laurels" ;  nor 
was  he  ever  "hailed  as  the  Homer  or  Vergil  of  his  time."  As  he  knew 
neither  himself  nor  the  greatness  of  his  gift,  so  his  contemporaries  failed 
to  appreciate  him.  He  never  regarded  himself  as  a  poet  by  calling  as  did 
Opitz,  Johann  Franck  and  Rist,  but  only  a  poet  by  avocation.  To  quote 
Goethe,  he  sang  "as  the  bird  sings  that  lives  in  the  branches."  In  the  same 
proportion  that  Gerhardt's  poetry  brought  strength  and  comfort  in  the 
grievous  period  of  the  Thirty  Years'  War  and  later  eras  of  confusion,  it  is 
destined  through  the  present  world  disaster  to  bring  its  message  of  hope. 

**Cf.  "Will  Satan  mich  verschlingen"  (Goed.  60,  46);  "Dazu  kommt  des  Teufels 
Liigen"  (Goed.  108,  17);  also  62,  55;  122,  31;  135,  41;  171,  40;  173,  40;  185,  33; 
232,  18;  256,  34;  312,  6;  328,  14. 

10  Cf.  "Es  wird  im  Fleisch  hier  f iirgestellt, 

Der  alles  schuf  und  noch  erhalt;"  (Goed.  310,  37-38). 

71  Cf.  Goed.  51. 


PART  TWO. 


CHAPTER  I. 

HISTORY  OF  ENGLISH  HYMNODY  AND  THE  GERMAN  INFLUENCE  UPON 
ENGLISH  HYMN  WRITING  FROM  THE  EARLY  XVlTH 

THROUGH  THE  XIXTH  CENTURY.1 


A^Y  direct  traces  of  literary  intercourse  between  Germany  and  England 
before  the  XVIth  century  are  hard  to  find  ;  however,  with  the  invention 
of  printing,  the  establishment  of  the  universities,  the  Renaissance  and  the 
Reformation  the  literary  relations  were  increased  and  became  important. 
In  the  wide  region  of  satire  which  was  at  that  time  serious  and  often 
steeped  in  theological  ideas  Germany's  works  left  enduring  traces.  Brant's 
"Narrenschiff"  translated  in  the  first  years  of  the  century  helped  essentially 
in  accelerating  the  development  of  this  type  of  literature  in  England  : 
reprinted  there  after  an  interval  of  sixty  years  it  was  still  an  inexhaustible 
model  of  satire.  Another  source  of  dramatic  effect  destined  to  have  great 
success  on  the  English  stage  was  found  in  some  hero  endowed  with  super- 
natural powers,  such  as  Faustus.  Thus  by  introducing  a  new  class  of 
situations  into  English  drama  the  unusually  gifted  Germany  of  the  sixteenth 
century  was  of  great  moment  for  its  neighbor,  England.  Not  a  little  of  the 
quality  of  the  Minnelied,  too,  reappears  in  much  of  the  verse  of  the  English 
lyric  writers  of  this  century,  when  the  rose,  the  nightingale  and  daisy  serve 
as  interpretations  of  the  play  of  love.  In  the  Mystery  Plays  there  existed 
doubtless  germs  of  the  Meistersanger  school  :  the  occasional  strophic  pas- 
sages in  the  Towneley  plays  resembled  to  a  great  extent  the  normal  Meister- 
gesang.  This  germ,  however,  did  not  develop  markedly  because  in  England 
the  cultivation  of  poetry  never  became  a  serious  occupation.  These  literary 
influences  from  Germany  in  satire,  in  Minnelied  and  in  Meistergesang  had 
direct  effect  upon  English  intellectual  life,  and  continued  uninterrupted 
through  the  centuries.  The  record,  on  the  other  hand,  of  German  influence 
in  History,  Lyrics  and  Hymns  was  more  broken  and  disconnected. 

1  Inasmuch  as  Gerhardt's  influence  was  not  fully  felt  in  England  till  the  middle  of 
the  XlXth  century,  this  chapter  deals  with  the  development  of  the  English  hymn  up 
to  that  period. 


28  PAUL  GERHARDT  AS  A  HYMN  WRITER 

In  order  to  get  the  story  of  the  development  of  the  hymn  we  must  go 
back  a  little.  Church  music  in  the  mediaeval  times  belonged  to  the  choir, 
not  to  the  congregation.  The  choral  hymns  in  England,  as  in  Germany, 
were  in  Latin  and  many  of  them  were  exceedingly  beautiful.  Although  the 
early  English  Church  received  from  the  continent  the  most  of  the  Latin 
hymns  used  in  its  service,  nevertheless  there  were  a  few  English  authors 
of  Latin  hymns.  Among  this  number  were  Bede,  commonly  called  Vener- 
able Bede  (673-735?)  who  wrote  "Adeste,  Christi,  vocibus,"  and  Anselm 
of  Canterbury,  a  great  architect  and  theologian,  and  Thomas  a  Becket. 
While  psalms  and  hymns  have  been  used  by  the  Christian  Church  since  its 
beginning,  the  particular  form  of  psalms  and  hymns  now  in  use  originated 
with  the  Reformation.  A  wonderful  development  of  this  religious  lyric 
poetry  sprang  up  in  England  and  Germany  at  the  beginning  of  the  XVIth 
century.  The  reformers  in  both  countries  were  chiefly  concerned  in  simpli- 
fying religious  worship,  and  in  giving  to  the  laity  a  more  active  participation 
in  it ;  the  choir  and  anthem,  the  old  liturgic  hymn  and  antiphonal  chant  gave 
way  to  a  great  extent  to  hymns  in  the  vernacular,  set  to  the  simplest  music 
and  sung  by  the  whole  congregation.  This  change  was  first  made  by  Luther 
and  eagerly  copied  in  England. 

When  Miles  Coverdale  in  his  ungifted  way  translated  Luther's  hymns 
into  English  his  unpoetical  and  lumbering  versions  were  ill  received  and 
were  soon  proscribed  by  the  Crown.  Sternhold  and  Hopkins  who  were 
translators  of  the  psalms  became  more  noticed,  but  their  versions  too  seem 
to  have  been  deficient  in  taste  and  feeling  of  lyric  poetry.  The  criticism 
of  the  poet  Campbell  seems  to  be  justified  when  he  says  of  the  authors  that 
"with  the  best  intentions  and  the  worst  taste  they  degraded  the  spirit  of 
Hebrew  Psalmody  by  flat  and  homely  phraseology ;  and  mistaking  vulgarity 
for  simplicity  turned  into  bathos  what  they  found  sublime."  Although  these 
bleak  translations  were  read  in  England  for  a  time,  they  soon  disappeared 
leaving  only  small  traces  which  were  picked  up  by  Wesley  more  than  two 
centuries  later. 

So  with  the  royal  proscription  of  Coverdale's  work,2  the  dying  out  oi 
Sternhold  and  Hopkins'  and  other  similar  attempts  at  translation,  the 

"It  must  be  remembered,  however,  that  although  Coverdale's  writings  had  little 
influence  upon  the  people  of  his  own  time,  they  have  been  appreciated  by  later 
generations  and  are  among  the  most  sincere  monuments  to  Luther  in  the  English 
language.  Cf.  A.  Mitchell:  The  Wedderburns,  Edinb.,  1868. 

An  example  will  show  the  nature  and  degree  of  Coverdale's  imitation.  Here  is  the 
first  stanza  of  his  version  of  "Ein*  feste  Burg" : 

"Oure  God  is  a  defence  and  towre 
A  good  armour  and  good  weapen, 
He  hath  ben  ever  oure  helpe  and  sucoure 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY  29 

imaginative  poetry  of  German  Protestantism  which  had  been  caught  up  in 
England  with  such  momentary  enthusiasm  was  as  rapidly  forgotten. 
Church  music  was  again  sung  by  the  choir.  The  first  effort,  therefore,  in 
the  early  XVth  century  to  introduce  Lutheran  hymnody  into  the  English 
world  contributed  little. 

This  disappearance  in  England  of  the  work  of  the  Reformers  in  church 
music  was  due  not  only  to  the  lack  of  great  translators  but  also  to  many 
other  causes.  Early  in  the  Renaissance  England  came  to  think  of  the  Refor- 
mation as  her  own  movement,  and  therefore  casting  aside  all  suggestions 
from  other  countries  wished  to  study  history  and  hymns  of  English  sources 
only.  The  few  men  at  this  time  who  recognized  Germany  as  the  mother 
country  of  the  Reformation  and  a  seat  of  literary  accomplishments  had  no 
wide  influence  in  England.  All  German  residents  in  England  belonged 
exclusively  to  the  commercial  class  and  brought  no  literary  influence  with 
them;  also  a  reason  for  the  literary  alienation  at  this  time  was  the  fact 
that  Germany  did  not  enter  the  religious  wars  in  which  Englishmen  were 
so  deeply  interested.  To  men  like  Jonson  and  Fletcher  Germany  was 
famous  only  as  a  land  of  magicians  and  conjurers  such  as  Paracelsus  and 
Dr.  Faustus.  In  short,  for  nearly  two  centuries  England  knew  little  of 
Germany  except  what  booksellers  found  it  to  their  profit  to  advertise  on  their 
sign  directories  as  the  "wonderful  strange  Xewes  from  Germany,"  and  the 
satires  of  Brant,  Dedekind,  and  Fischart.3 

Another  most  vital  cause  of  the  retardation  of  the  development  of  hym- 
nody in  Great  Britain  so  soon  after  the  Reformation  was  the  example  and 
influence  of  Geneva.  Calvin  was  organizing  his  ecclesiastical  system  at 
Geneva,  and  introduced  into  it  Marot's  Psalter4  which  was  then  very 
fashionable.  This  example  produced  in  England  the  translation  commonly 
known  as  the  Old  Version  of  the  Psalms  begun  in  the  reign  of  Henry  VIII 
(1509-1547).  In  this  collection  are  eleven  metrical  versions  of  the  "Te 
Deum"  and  "Da  pacem,  Domine,"  two  original  hymns  of  praise,  two 

In  all  the  troubles  that  we  have  ben  in. 

Therefore  wyl  we  never  drede 

For  any  wonderous  dede 

By  water  or  by  londe 

In  hilles  or  the  sea-sonde. 

Our  God  hath  them  al  i  his  hond." 

8  For  a  good  account  of  contemporary  German  drama  and  satire  in  England,  cf. 
Herford :  The  Literary  Relations  of  England  and  Germany  in  the  XVIth.  Century. 
Ch.  IV-VII. 

4  Clement  Marot,  valet  de  chambre  to  Francis  I  of  France,  collaborated  with 
Theodore  Beza  on  a  metrical  translation  of  the  Old  Testament  Psalms.  The  work 
appeared  about  1540. 


3o  PAUL  GERHARDT  AS  A  HYMN  WRITER 

penitential  and  a  hymn  of  faith.  The  tunes  which  accompanied  the  words 
were  German.5  Therefore,  although  the  religious  influence  of  the  Refor- 
mation was  always  strong  in  England  from  the  beginning  of  the  movement, 
the  influence  of  Luther  from  a  literary  standpoint  early  in  the  Renaissance 
ceased  to  exist  in  England  and  was  replaced  by  Calvin's  stern  rule.  These 
narrower  canons  admitting  nothing  but  paraphrases  of  scripture  and  even 
of  scripture  little  outside  the  Psalms  became  the  firm  fashion  of  English 
hymnody  for  the  next  century  and  a  half. 

In  spite  of  the  fact  that  Luther  had  little  influence  on  English  literature 
in  the  early  Reformation  his  hymns  came  to  their  own  in  England  in  the 
middle  of  the  XVIIIth  century.  In  the  meantime,  although  the  English 
people  used  the  stern  canons  of  Calvin,  they  began  to  feel  the  want  of  a 
more  lyric  hymn.  While  German  Protestantism  had  developed  at  once  a 
rich  hymnody  there  was  actually  no  English  hymnody  until  the  XVIIIth 
century.  Isaac  Watts,  a  representative  of  the  English  Independents,  may 
be  justly  considered  the  real  founder  of  modern  English  hymnody.  He  was 
the  first  to  understand  the  nature  of  the  want,  and  by  the  publication  of  his 
Hvmns  in  1707-1709  and  Psalms  (hymns  founded  on  psalms)  he  led  the 
way  in  providing  for  this  want.  His  immediate  followers  were  Simon 
Browne  and  Doddridge ;  and  later  in  the  century  Grigg,  Miss  Steele,  Bed- 
dome  and  Swain  succeeded  them.  Of  these  writers  Watts  and  Doddridge 
are  certainly  preeminent,  the  hymns  of  the  former  are  of  unusual  fervor 
and  strong  simplicity,  and  those  of  Doddridge  while  perhaps  more  artificial 
in  general  than  those  of  his  predecessor  Watts  are  nevertheless  distinguished 
by  their  graceful  style. 

About  1738  came  the  "Methodist"  movement  which  afterward  became 
divided  into  three  sects,  the  Arminian  under  John  Wesley,  those  who 
adhered  to  the  Moravians,6  and  the  Calvinists  of  whom  Whitfield  was  the 
leader.  Each  of  these  factions  had  its  own  hymn  writers,  some  of  whom 
did,  and  others  did  not,  secede  from  the  Church  of  England.  These  are 
the  years  when  a  renewed  strong  current  of  influence  from  Germany  is 
felt.  The  translation  movement  first  sprang  up  in  the  middle  of  this  cen- 
tury when  Count  Zinzendorf  and  A.  G.  Spangenberg  came  to  England7  and 
established  a  branch  of  the  Moravian  Church  there.  The  Gesangbuch,  the 
first  of  the  hymn  books  for  the  congregation  at  Herrnhut,  had  been  published 
in  J735  by  Count  Zinzendorf.  The  Moravians  in  England  began  to  trans- 
late many  of  the  hymns  contained  in  the  German  Moravian  Hymn  Book* 

"Cf.  Barney:    History  of  Music. 

8  The  Moravians  were  a  vigorous  religious  cult  established  in  Herrnhut,  Saxony. 

7  In  1737  and  1741,  respectively. 

8Cf.  p.  n. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY  31 

These  translations,  however,  were  for  the  most  part  poor,  mere  doggerel, 
but  in  later  editions  they  were  somewhat  improved,  especially  in  the  one 
revised  in  the  XlXth  century  by  James  Montgomery,  the  well  known  hymn 
writer,  who  was  for  a  long  time  a  member  of  the  English  Moravian 
Church.  Among  these  many  English  hymn  writers  at  this  time  whether 
writing  entirely  from  English  sources,  or  influenced  by  German  ideas  and 
philosophy  or  merely  translators  of  the  German  hymn,  the  Wesley  brothers 
are  deserving  of  the  first  place. 

After  determining  upon  missionary  lives  John  and  Charles  Wesley 
embarked  on  October  14,  1735,  for  the  new  colony  of  Georgia.  Among 
their  fellow  passengers  were  twenty-six  Moravian  colonists,  who  in  all  the 
changes  of  weather,  especially  during  storms,  made  a  great  deal  of  hymn 
singing.  John  Wesley  was  much  impressed  with  the  fervor  and  piety  of 
these  hymns  and  with  their  spiritual  possibilities.  One  of  the  German 
sources  which  had  great  influence  upon  Wesleyan  hymnody  was  Freyling- 
hausen's  Geist-reiches  Gesang-Buch  (Halle  1704  and  1714).  John  Wesley 
introduced  hymn  singing  into  the  "companies"  formed  in  Georgia  and  his 
first  hymn  book  appeared  as  a  Collection  of  Psalms  and  Hymns.  Charles-. 
Town  1737,  without  his  name.  Of  the  seventy  lyrics  in  the  book,  one  half 
are  from  Watts,  fifteen  of  the  remainder  are  hymns  of  the  Wesleys,  five  of 
which  were  translated  from  the  German  by  John  Wesley.  In  his  third 
collection  printed  in  England  in  1750  the  immediate  impression  the  hymns 
produce  is  that  of  foreignness  because  of  the  many  lengthy  stanzas  and  the 
unusual  metres.  The  reason  for  this  is  the  fact  that  the  authorities  insisted 
that  the  melodies  sung  at  Herrnhut  be  kept,  irrespective  of  the  language  in 
which  they  might  be  sung.  Although  Charles  Wesley  knew  no  German, 
and  therefore  derived  his  impressions  of  the  Moravian  hymnody  indirectly, 
nevertheless  he  caught  much  of  its  tone  and  manner  and  its  atmosphere  of 
confiding  love.  In  all  he  wrrote  about  6500  hymns,  through  a  large  portion 
of  which  may  be  traced  this  Moravian  influence. 

Of  great  value  to  English  hymnody  are  the  contributions  of  the  Cal- 
vinistic  Methodists,  and  few  writers  of  hymns  have  had  higher  gifts  than 
A.  M.  Toplady,  the  author  of  "Rock  of  Ages."  His  hymns  have  the  same 
warmth,  richness  and  spirituality  as  German  hymns,  and  are  meditations 
after  the  German  manner,  owing  direct  obligation  to  German  originals. 
During  the  first  quarter  of  the  nineteenth  century  came  the  practice  of 
hymnodists  of  altering  without  scruple  the  compositions  of  other  men,  nota- 
bly Latin  and  German  hymn  writers,  to  suit  their  own  doctrines  and  tastes, 
with  the  result  all  too  often  of  spoiling  the  originals  thus  altered,  though 
English  hymnody  was  undoubtedly  enriched  by  this  process  of  adaptation. 

Two  publications  in  1827,  Bishop  Heber's  Hymns  and  Keble's  Christian 
Year  introduced  a  new  epoch  into  English  hymnody,  destroying  the  barrier 


32  PAUL  GERHARDT  AS  A  HYMN  WRITER 

which  had  previously  existed  between  the  different  theological  schools  of 
the  Church  of  England.  This  movement  received  a  great  additional  impulse 
from  the  publication  in  1833  of  Bunsen's  Gesangbuch.  From  this  time 
hymns  and  hymn  writers  multiplied  not  only  in  the  Church  of  England,  but 
in  Scotland  and  America  also.  With  such  influences  as  we  have  mentioned 
the  more  recent  collections  have  evidenced  an  improved  standard  of  taste, 
and  there  has  been  a  larger  and  more  liberal  admission  of  good  hymns  from 
the  German.  In  this  XlXth  century  when  the  study  of  the  German  lan- 
guage and  literature  became  so  much  more  common  than  before  it  is 
natural  that  an  impulse  be  given  also  to  translation  of  German  hymns. 

Beside  the  improvement  in  the  standard  of  taste,  additional  interest  in 
hymnody  had  been  aroused  by  the  prominence  given  to  congregational 
singing  in  English  churches.  "To  love  hymns  in  eighteenth  century  Scot- 
land was  to  be  accused  of  heresy:  in  England,  it  was  to  be  convicted  of 
that  worse  thing,  'enthusiasm.'  "  Since  the  days  of  Luther  Germany  had 
given  her  hymns  general  esteem,  but  in  England  it  was  the  middle  of  the 
nineteenth  century  before  hymns  won  anything  like  popular  favor.  The 
congregational  hymn  in  England  is  the  direct  although  exceedingly  slow 
outgrowth  of  the  German  Reformation  but  it  must  be  borne  in  mind  that 
the  foundations  of  congregational  singing  were  laid  even  before  Luther. 
When  the  Hussites  in  Bohemia  created  this  hymnody  in  the  vernacular 
their  hymns  were  designed  for  worshippers  rather  than  for  the  choir.9 
While  German  Protestantism  developed  at  once  a  rich  hymnody  there  was 
actually  no  English  hymnody  until  the  XVIIIth  century. 

German  hymns  and  chorals  had  a  place  in  the  Church  Psalter  and  Hymn 
Book  of  William  Mercer  of  Sheffield  (1854).  One  who  took  much  inter- 
est in  its  preparation  was  James  Montgomery  of  whom  mention  has  already 
been  made.10  This  was  the  most  successful  of  all  the  books  of  the  decade 
for  the  reason  that  it  aided  in  placing  the  hymnody  back  in  the  people's 
hands  and  making  it  congregational.  Thus  we  see  that  the  success  of  con- 
gregational singing  of  the  better  type  required  a  return  to  the  Reformation 
practice  of  including  the  tunes,  as  well  as  words,  in  the  people's  hymn  books. 

If  general  congregational  singing  after  the  manner  that  prevailed  in 
Germany  for  so  long  has  been  an  incentive  to  the  development  of  English 
hymnody,  the  interest  in  German  hymnody  has  at  the  same  time  been 
quickened  by  the  good  work  done  in  Frances  E.  Cox's  Sacred  Hymns  from 
the  German  (1841)  and  Henry  J.  Buckoll's  Hymns  translated  from  the 

"The  earliest  extant  hymn  book  is  that  in  the  Bohemian  Museum  at  Prague  and 
bears  the  date  Jan.  13,  1501,  but  this  hymn  book  is,  singularly,  never  mentioned  among 
the  works  of  the  Brethren  (Moravians). 

10  Cf.  p.  31.    For  Gerhardt's  influence  on  Montgomery  cf.  p.  139. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY  33 

German  (1842).  This  also  found  expression  in  the  Psalms  and  Hymns, 
partly  original,  partly  selected  (Cambridge  1851)  of  Arthur  T.  Russell,  in 
which  the  German  hymns  played  a  very  large  part,  the  Latin  a  very  small 
one;  even  the  arrangement  of  the  hymns  is  based  on  an  old  Lutheran 
hymn  book.  In  1854  appeared  Richard  Massie's  Martin  Luther's  Spiritual 
Songs,  and  the  first  four  parts  (1854-1862)  of  Hymns  from  the  Land  of 
Luther  by  Jane  Borthwick  and  her  sister  Mrs.  Findlater.  In  1855  and  1858 
Catherine  Winkworth  published  the  first  and  second  series  of  her  Lyra 
Germanica,  following  them  in  1863  with  the  Chorale  Book  for  England,  and 
Christian  Singers  of  Germany  (1869).  The  work  of  this  group  of  trans- 
lators which  has  secured  so  firm  a  place  in  English  hymnody  for  a  number 
of  German  hymns  and  more  particularly  those  of  Paul  Gerhardt  will  be 
discussed  in  the  following  chapter. 


34 


PAUL  GERHARDT  AS  A  HYMN  WRITER 


ABBREVIATIONS  AND  EXPLANATIONS. 
Bachmann  =  Bachmann :    Gerhardts  Geistliche  Lieder,  1866. 
C.B.  =  Chorale  Book  for  England,  by  Catherine  Winkworth,  1863. 
C.P.&H.Bk.  =  Mercer's  Church  Psalter  and  Hymn  Book,  1854  etc. 
Cru.Praxis  =  Cruger's  Praxis  pietatis  melica,  Berlin  and  Frankfurt  a/M.   1648  etc. 
Crii.— Runge  =  Runge's  edition  of  the  above. 
Ebeling  =   P.  Gerhardi  Geistliche  Andachten,   1667   etc.      (The  numbers    following 

the  date  refer  to  the    "dozen"    in   which   the  poem   appeared.      Cf.   p.    15    and 

note  6.) 

G.B.  =  Gesangbuch. 
G.L.S.  =  Geistlicher  Liederschatz,  1832. 
Goed.  =   Goedeke:    Gedichte   von   Paulus    Gerhardt,    1877.      (In    this    thesis    the 

poems   are   numbered  according  to   the   page   on   which   they   begin    in    this 

Goedeke  text.) 
H.L.L.  =  Hymns  from  the  Land  of  Luther,  by  Mrs.  Findlater  and   Miss   Jane 

Borthwick,  1854  etc. 
H.Bk.  =  Hymn  Book. 

Kelly  =  J.  Kelly:   Paul  Gerhardt's  Spiritual  Songs,  1867. 
Lib.R.P.  =  Library  of  Religious  Poetry,  1881. 
Lyra  Ger.  =  Lyra  Germanica,  by  Miss  Winkworth,  1855  etc. 
Songs  of  G.  and  G.  =  Songs  of  Grace  and  Glory,  by  Charles  B.  Snepp,  1872. 
St.  =  stanza. 

Unv.L-S.  =  Unverfalschter  Liedersegen,  Berlin,  1851. 
Wackernagel  =  Wackernagel:    Gerhardts  Geistliche  Lieder,  1843. 

When  merely  the  translator's  name  is  given,  the  complete  title  of  the  work  is  usually 
to  be  found  in  the  respective  biographical  note  in  the  Appendix,  pp.  144  ff. 

The  citation  of  hymn  books  is  by  no  means  exhaustive.  Selections  from  Gerhardt's 
hymns  are  to  be  found  in  nearly  all  modern  hymnals.  The  aim  has  been  to  give 
mainly  those  which  first  included  versions  of  his  hymns. 

As  a  rule,  the  German  stanzas  are  indicated  by  the  Roman  numerals  I,  II,  III,  etc., 
the  English  stanzas  by  the  Arabic  I,  2,  3,  etc. 


CHAPTER  II. 

ENGLISH  VERSIONS  OF  GERHARDT'S  HYMNS. 

WHILE  the  first  influence  of  Gerhardt  on  English  hymnody  dates  from 
the  earlier  part  of  the  XVIIIth  century  it  was  not  until  the  middle 
of  the  following  century1  that  his  influence  was  most  fully  felt.  For  it  was 
then  that  the  whole  subject  of  church  music  and  congregational  singing  in 
England  received  renewed  and  special  attention.  The  English  hymn  writers 
and  compilers  of  hymn  books  naturally  appropriated  all  embodiment  of 
Christian  experience  and  devotion  that  Germany,  a  country  so  nearly  akin 
to  their  own,  could  offer.  The  translators  of  all  German  hymns  were  sub- 
jected to  certain  limitations  the  observance  of  which  affected  the  character 
of  the  rendering.  The  accompanying  versions  of  Gerhardt's  poems  are 
illustrations  of  this  statement. 

A  parallel  arrangement  of  these  various  versions  reveals  the  following 
interesting  facts.  First,  that  literalness  has  been  rarely  attained  for  the 
reason  that  a  certain  measure  of  freedom  has  to  be  used  in  any  metrical 
rendering.  Some,  as  for  example,  Dr.  J.  Kelly,  have  striven  to  maintain 
fidelity  to  the  sense  of  the  original  and  thereby  have  often  sacrificed  euphony 
to  fidelity.  Secondly,  there  has  been  made  necessary  the  frequent  use  of 
the  double  rhymes  which  are  as  common  in  the  German  language,  on  account 
of  its  peculiar  structure,  as  monosyllabic  rhymes  are  in  English.  The  limited 
number  of  double  rhymes  in  English  has  presented  a  serious  obstacle  in  the 
way  of  rendering  German  hymns  with  their  native  force  and  simplicity 
without  which  qualities  the  hymns  cannot  become  truly  naturalized.  In  so 
many  cases  have  the  German  hymns  and  tunes  been  considered  as  one  and 
inseparable,  that  the  translators  have  sought  to  preserve  the  original  metres 
for  the  sake  of  the  tunes  which  would  not  of  course  admit  of  any  deviation 
without  harm  to  their  characteristic  beauty. 

In  the  following  pages  we  shall  discuss  those  of  Gerhardt's  hymns  (84 
in  number)  which  have  been  translated  into  English,  and  cite  in  most  cases 
the  hymn  books  which  have  been  among  the  first  to  recognize  the  excellence 
of  the  English  versions.2 

1  Cf.  p.  27  and  note. 

2  The   hymns    selected    for    discussion   with   their    respective    English    versions    are 
arranged  according  to  the  sequence  in  the  Goedeke  text   (Gedichte  von  Paulus  Ger- 
hardt, Leipzig  1877).     The  ten  most  widely  translated  hymns  (nos.  25,  49,  59,  60,  68, 


36  PAUL  GERHARDT  AS  A  HYMN  WRITER 

Du  liebe  Unschuld  du,  wie  schlecht  wirst  du  geachtt!—  (Good.  3.) 
Appeared  in  the  Cri't.  Praxis,  1656,  p.  650. 

English  Version: 

i.  By  /.  Kelly,  under  the  heading,  "Under  the  vexations  of  the  wicked 
prosperous  world,"  the  first  stanza  as  follows  : 

Ah !  lovely  innocence,  how  evil  art  thou  deemed, 
How  lightly  oft  thy  work  by  all  the  world's  esteem'd  ! 
Thou  servest  God,  thy  Lord,  and  to  His  word  thou  cleavest. 
For  this,  from  men  thou  nought  but  scorn  and  hate  receivest. 

This  translation  is  somewhat  labored  as  is  especially  evident  in  line  4  above 
for  the  German : 

"Dariiber  hohnt  man  dich  und  driickt  dich  aller  Orten." 

Goedeke  in  his  note  to  this  hymn  points  out  that  from  the  use  of  the 
Alexandrine  verse,  the  freedom  from  biblical  phraseology  and  from  the 
generality  of  the  expressions  it  is  probable  that  this  is  one  of  Gerhardt's 
earliest  poems  composed  at  a  time  when  he  patterned  his  writings  after  the 
model  of 

Wie  ist  so  grosz  und  schwer  die  Last. —  (Good.  7.) 
Appeared  in  Crii. — Runge,  1653,  no.  299. 

This  fervent  appeal  for  protection  during  the  Thirty  Years'  War  has  been 
translated  into  English  only  by  /.  Kelly  1867,  p.  246.  In  line  36  he  renders 
(from  the  Wackernagel  text  which  he  used)  : 

"Behold !  my  heart,  on  every  hand." 

As  mem  Hcrr  is  very  evidently  the  proper  reading  from  the  sense  of  the 
context  and  the  character  of  the  other  stanzas,  it  is  unfortunate  that  his 
otherwise  excellent  rendering  should  be  made  to  suffer  by  this  one  weak 
stanza. 

"Protection  of  God  in  hitherto  dangerous  times  of  war." 

Stanza  i.      How  heavy  is  the  burden  made 

That  Thou  upon  our  backs  hast  laid, 
O  God!  the  Lord  of  Hosts, 
O  God,  whose  anger  rises  high 
'Gainst  workers  of  iniquity. 

122,  150,  185,  229,  239)  and  hymns  showing  adaptations  are  treated  in  a  separate  part 
of  this  chapter,  pp.  82  ff.  In  some  instances  specimen  stanzas  selected  from  the 
English  versions  have  been  added  for  comparison  or  reference. 

3  On  Gerhardt's  use  of  the  Alexandrine  cf.  p.  20  f,  and  on  the  influence  of  Opitz 
cf.  p.  18. 


AND*  HIS  INFLUENCE  ON  ENGLISH  HYMNODY  37 

O  Herrscher  in  dern  Himmelszelt. —  (Goed.  15.) 
Appeared  in  Crii. — Runge,  1653,  no.  315. 

This  poem  and  "Nun  ist  der  Regen  bin"  (cf.  Gocd.  17,  below)  were  both 
written  during  the  Thirty  Years'  War  and  inspired  by  the  same  occasion. 
Gerhardt  in  two  instances  uses  the  same  set  of  rhymes : 

Goed.  15  Goed.  17 

1.      i     zelt  1.    31     feld 

2     feld  32    zelt 

51  bekehrt  5     gekehrt 

52  erhort  6     erhoret 

The  long  metre  lends  itself  well  to  English  translation,  and  Kelly  in  his 
English  version  has  observed  with  precision  the  pleading  and  melancholy 
tone  of  the  original. 

Stanza  i.       O  God!  who  dost  Heav'n's  sceptre  wield, 
What  is  it  that  now  makes  our  field, 
And  everything  that  it  doth  bear, 
Such  sad  and  ruined  aspect  wear?4 

/.  Kelly,  1867,  p.  294. 

His  last  stanza  forms  by  its  fervor  an  even  stronger  conclusion  than  Ger- 
hardt's.  The  alteration  from  "bis  in  unsern  Tod"  to  "as  long  as  we  may 
live"  is  a  decided  improvement,  and  more  consistent  with  the  thought  of 
the  context : 

Verleih  uns  bis  in  unsern  Tod  And,  Lord,  as  long  as  we  may  live 

Alltiiglich  unser  liebes  Brot  Our  daily  bread  in  bounty  give 

Und  dermaleins  nach  diser  Zeit  And  when  the  end  of  time  we  see 

Das  siisze  Brot  der  Ewigkeit!  The  bread  give  of  eternity. 


Nun  ist  der  Regen  bin. —  (Gocd.  17.) 
First  published  in  Crii. — Runge,  1653,  no.  315. 

This  simple  nature  poem  expressing  to  the  Almighty  thanks  for  gracious 
sunshine  after  a  storm  has  appeared  but  once  in  English  verse,  the  version 
of  /.  Kelly,  1867,  p.  298.  The  many  poetic  allusions  and  references  to 
nature  he  has  imitated  very  acceptably,  at  times  even  surpassing  the  thought 
of  the  original.  In  the  first  stanza  the  rhymes  "gekehret"  and  "erhoret" 
have  been  especially  aptly  rendered  by  the  accented  ed  in  "turned"  and 
"spurned." 

Stanza  i.       Now  gone  is  all  the  rain, 
Rejoice  my  heart  again, 

4  On  the  pessimistic  tone  in  this  stanza  cf.  p.  24. 


38  PAUL  GERHARDT  AS  A  HYMN  WRITER 

Sing  after  times  of  sadness 

To  God  thy  Lord  with  gladness ! 

Our  God  His  heart  hath  turned 

Our  pray'r  He  hath  not  spurned.     .     .    . 

How  successfully  Kelly  has  caught  the  spirit  of  Gerhardt's  nature  descrip- 
tion is  evident  in  stanza  9 : 


Die  Baume  werden  schon 
In  ihrer  Fiille  stehen, 
Die  Berge  werden  flieszen, 
Und  Wein  und  Oele  gieszen, 
Das  Bienlein  wird  wol  tragen 
Bei  guten  warmen  Tagen. 


The  trees  so  very  fair 
Fruit-laden  will  stand  there; 
From  hill-sides  like  a  river 
Will  wine  and  oil  flow  ever 
In  warm  and  quiet  weather 
Will  bees  their  honey  gather. 


Nun  laszt  uns  gehn  und  treten. — (Goed.  19.) 
[New  Year.} 

Evidently  written  during  the  Thirty  Years'  War.  It  first  appeared  in  Cril. — Runge, 
1653,  no.  106,  in  15  stanzas  of  4  lines;  thence  in  Wackernagel:  no.  12;  Bachmann: 
no.  24;  Berlin  G.  L.  S.:  1863,  no.  200. 


English  Versions: 

i.    In  prayer  your  voices  raise  ye. 

In  full,  by  /.  Kelly,  1867,  p.  45. 
Lutheran  Hymnal,  1880. 


From  this  8  stanzas  are  included  in  the  Ohio 


2.  Now  let  each  humble  creature. 

In  the  Suppl.  to  Ger.  Psal.,  1765,  p.  4,  and  Select  Hymns  from  Ger.  Psal.,  Tranquebar, 
1/54,  P-  7-  In  the  Moravian  Hymn  Bk.,  1789,  no.  507  (1849,  no.  1106)  greatly  altered 
and  beginning,  "Year  after  year  commenceth." 

3.  O  come  with  prayer  and  singing. 

R.  Massie  in  the  British  Herald,  Jan.,  1865,  p.  8. 

4.  Christians  all,  with  one  accord. 

E.  Massie,  1867,  p.  168. 

5.  With  notes  of  joy  and  songs  of  praise. 

Dr.  R.  Maguire,  1883,  p.  24. 


Noch  dennoch  must  du  drum  nicht  ganz. —  (Goed.  23.) 
Appeared  in  the  Cru.  Praxis,  1656,  no.  814. 

This  hymn  of  consolation  seems  to  refer  to  some  particular  disaster  that 
had  befallen  the  community  during  the  Thirty  Years'  War.     The   "drum" 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY  39 

in  line  i  may  possibly  refer  to  some  address  or  announcement  made  to  the 
congregation. 

The  poem  has  been  well  translated  in  full  by  /.  Kelly,  1867,  p.  230.  He 
makes  no  attempt  to  render  the  doubtful  meaning  above  referred  to  in  the 
word  "drum."  On  the  other  hand  his  interpretations  of  several  rather 
obscure  lines  (cf.  lines  29  and  43  below)  are  undoubtedly  correct. 

Stanza  I.       Thou  must  not  altogether  be 
O'ercome  by  sad  vexation, 
God  soon  will  cause  to  shine  on  thee 
The  light  of  consolation. 
In  patience  wait,  and  be  thou  still 
And  let  the  Lord  do  what  He  will, 
He  never  can  do  evil. 

Lines  29,  3O5  are  rendered : 

God  therefore  all  our  joys  doth  blight. 
Lets  trials  overtake  us, 

and  lines  43,  44 :6 

Afflicted  band!    oh,  fall  ye  now 
With  contrite  hearts  before  Him, 

In  this  last  citation  Kelly  is  right  in  assuming  it  is  not  literally  the  "army" 
but  rather  the  congregation  or  community  that  Gerhardt  is  here  addressing. 


Wie  soil  ich  dich  empfangen. —  (Goed.  25.) 
(Cf.  p.  82.) 


Nun  du  lebest,  unsre  Krone. — (Goed.  28.) 

This  poem  was  appended  to  an  address  delivered  in  Berlin  on  the  23d  of 
March,  1648,  at  the  funeral  of  Peter  Fritzen,  the  President  of  the  Consistory. 

English  Version: 

I.      On  thy  bier  how  calm  thou'rt  sleeping 
Yet  thou  livest,  oh  our  crown ! 
Watch  eternal  art  thou  keeping, 

6  Gerhardt,  lines  29,  30: 

Drum  fahrt  uns  Gott  durch  unsern  Sinn 

Und  laszt  uns  Weh  geschehen; 
Mines  43,  44: 

Drum  falle,  du  betriibtes  Heer, 

In  Demut  f iir  Ihm  nieder ; 


40  PAUL  GERHARDT  AS  A  HYMN  WRITER 

Standing  near  thy  Savior's  throne. 
Endless  joy  thy  portion  now! 
Why  should  tears  so  freely  flow? 
What  should  thus  in  sorrow  sink  us  ? 
Up !  aright  let  us  bethink  us ! 

A  complete  translation  by  /.  Kelly,  1867,  p.  338- 

Sei  mir  tausendmal  gegriiszet.—  (Goed.  40.) 

Taken  from  the  "Salve  mundi  salutare,"  ascribed  to  St.  Bernard  of  Clair- 
vaux  '  The  text  of  this  beautiful  poem  is  in  St.  Bernard's  Opera  Omma, 
Paris  1609  cols.  1655-56.  Here  it  is  entitled  "A  rhythmical  prayer  to  any- 
one of  the  members  of  Christ  suffering  and  hanging  on  the  Cross,"  and  is 
divided  into  7  parts  viz : 

I.     Salve  mundi  salutare  (to  the  Feet). 
II.    Salve  Jesu,  Rex  sanctorum  (to  the  Knees). 

III.  Salve  Jesu,  pastor  bone  (to  the  Hands). 

IV.  Salve  Jesu,  summe  bonus  (to  the  Side). 
V.     Salve  salus  mea,  Deus  (to  the  Breast). 

VI.     Summi  Regis  cor  aveto   (to  the  Heart). 
VII.     Salve  caput  cruentatum  (to  the  Face). 

The  whole  poem  has  been  frequently  translated  into  German.  The  best 
known  translations  are  those  by  Paul  Gerhardt,  which  are  free  versions  of 
all  the  seven  parts  from  the  Latin  text  of  1609.  Of  Gerhardt's  versions, 
nos.  I,  V,  VI,  and  VII  have  passed  into  English,  as  follows : 

I.     Sei  mir  tausendmal  gegriiszet. —  (Good.  40.) 

This  appeared  in  the  5th  ed.,  Berlin,  1653,  and  the  Frankfort  ed.,  1656,  of  Cril.  Praxis, 
no.  150;  thence  in  Wackernagel;  no.  16;  Bachmann:  no.  48;  Unv.  L.  S.:  1851, 
no.  116. 

English  Versions: 

1.  Thousand  times  by  me  be  greeted. 

In  pt.  I  of  the  Moravian  H.  Bk.  1754.     Repeated  in  later  editions. 

2.  Ever  by  my  love  be  owned  (st.  I,  III,  IV). 

A.  T.  Russell  in  his  Psalms  and  Hymns,  1851. 

7  Bernard  of  Clairvaux,  saint,  abbot,  and  doctor,  was  born  in  Burgundy  in  1091, 
entered  the  monastery  of  Citeaux  in  1113.  In  1146  he  spent  much  time  in  traversing 
France  and  Germany  to  rouse  the  people  to  participate  in  the  ill-fated  second  crusade. 
He  died  in  1153.  The  hymns  by  which  he  is  best  known  are  (i)  "Jesu  dulcis 
memoria,"  a  long  poem  on  the  "Name  of  Jesus,"  and  (2)  "Salve  mundi  salutare," 
an  address  to  the  various  members  of  Christ  on  the  cross.  Hymns,  translated  from,  or 
founded  on,  St.  Bernard's  will  be  found  in  almost  every  modern  hymnal. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNQDY  41 

V.     Gegriiszet  seist  du,  Gott,  mein  Heil. —  (Goed.  46.) 

Appeared  in  the  Frankf.  ed.,  1656,  of  Cru.  Praxis;   thence  in  Wackernagel:    no.  20; 
Bachmann:   no.  52. 

English  Versions: 

1.  All  hail  to  Thee,  my  Savior  and  my  God. 

Mrs.   Stanley  Carr  in  her  translation  of   Wildenhahn's  Paul  Gerhardt,  ed. 
1856,  p.  116. 

2.  All  hail!  my  Savior  and  my  God. 

R.  Massie  in  the  British  Herald,  Feb.,  1865,  p.  18. 

VI.     O  Herz  des  Konigs  aller  Welt—  (Goed.  47.) 

Appeared  in  the  Frankf.  ed.,  1656,  of  Cru.  Praxis,  no.  155 ;    thence  in  Wackernagel: 
no.  21 ;   Bachmann:    no.  53;    Berlin,  G.  L.  S.:  1863,  no.  258. 

English  Version: 

i.     O  Heart  of  Him  who  dwells  on  high. 

R.  Massie  in  the  British  Herald,  May,  1866,  p.  260. 

VII.     O  Haupt  voll  Blut  und  Wunden.—  (Good.  49.) 
(Cf.  p.  86  ff.) 


Wach  auf,  mein  Herz,  und  singe. — (Goed.  59.) 
(Cf.  p.  95  ff.) 


Nun  ruhen  alle  Walder. —  (Goed.  60.) 
(Cf.  p.  98  ff.) 


Weg,  mein  Herz,  mit  den  Gedanken. —  (Goed.  62.) 
[Lent.} 

Founded  on  St.  Luke  XV.     Appeared  in  Cru.  Praxis,  1648,  no.  36  in   12  stanzas. 
English  Versions: 

1.  Let  not  such  a  thought  e'er  pain  thee. 

/.  Kelly,  1867,  p.  83. 

2.  Hence,  my  heart,  with  such  a  thought. 

Miss  Winkworth,  1869,  p.  210. 


Herr,  hore,  was  mein  Mund. —  (Good.  65.) 
Appeared  in  Cru.  Praxis,  1648,  no.  37. 

This  prayer  for  favor  in  judgment  is  based  on  Psalm  CXLIII.      It  is 
pervaded  with  deep  humility  and  devoutness. 


42  PAUL  GERHARDT  AS  A  HYMN  WRITER 

English  Versions: 

I.     Lord,  lend  a  gracious  ear 
To  my  desire  sincere 
From  heart  all  free  from  guile 
And  glad  me  with  Thy  smile, 
Accept  my  petition. 

J.  Kelly,  1867,  p.  92. 

His  rendering  of  the  similes  and  metaphors  of  this  hymn  is  especially 
good.     Cf .  stanza  VI : 

Betrachte,  wer  ich  bin,  Consider  what  we  be — 

Im  Hui  fahr  ich  dahin,  A  moment,  what  are  we? 

Zerbrechlich  wie  ein  Glas,  As  brittle  as  frail  glass 

Verganglich  wie  ein  Gras  As  fading  as  the  grass, 

Ein  Wind  kann  mich  fallen.  By  a  breath  we're  swept  off. 

and  in  stanza  X : 

Ich  lechze  wie  ein  Land,  I'm  like  a  thirsty  land, 

also  stanza  XI : 

Gleich  wie  auf  der  Heid  Like  hart  upon  the  heath   .    .    . 

Ein  Hirsch   . 


Warum  machet  solche  Schmerzen. — (Goed.  67.) 
[New  Year.] 

Based  on  St.  Luke  II,  21.  It  appeared  in  Cru.  Praxis,  1648,  no.  97  in  4  stanzas.  Bun- 
sen,  in  his  Versuch  1833,  no.  120,  gives  stanzas  III,  IV,  altered  to  "Freut  euch,  Sunder, 
allerwegen." 

English  Versions: 

1.  Mortals,  who  have  God  offended. 

Miss  Cox,  1841,  p.  21,  from  Bunscn. 

2.  Why  should  they  such  pain  e'er  give  Thee. 

/.  Kelly,  1867,  p.  43. 


Ein  Lammlein  geht  und  tragt  die  Schuld.— (Goed.  68.) 
(Cf.  p.  104  ff.) 


O  Welt,  sieh  hier  dein  Leben. —  (Goed.  7i.)8 
[Passiontide.] 

Cf.  Koch  IV,  161,  711,  787-     First  published  in  Cru.  Praxis,  1648,  no.   119    in   16 
:  lines,  reprinted  in  Wackernagel:   no.  15 ;   Bachmann:    no.  8;    Unv.  L.  S.: 

*  For  adaptations  of  this  hymn  cf.  p.  137. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY  43 

1851,  no.  113.     Stanzas  III-V  were  favorites  with  J.  S.  Bach  and  used  by  him  in  his 
St.  Matthew  and  St.  John  Passion  Music.9 

English  Versions: 

1.  Extended  on  a  cursed  tree. 

A  free  translation  in  long  metre  by  J.  Wesley,  of  stanzas  I,  III,  IV,  VI,  VIII-XI, 
XVI,  in  Hymns  and  Sacred  Poems,  1740  (P.  Works,  1868-72,  vol.  I,  p.  232),  and 
thence  in  the  Wesleyan  H.  Bk.,  1780,  and  since  in  other  hymn  books  of  the  Methodists. 
The  translation  of  stanzas  IX-XI,  XVI,  beginning  "My  Savior,  how  shall  I  proclaim" 
were  included  in  the  American  Sabbath  Hymn  Book,  1858,  and  the  Baptist  Service  of 
Song,  Boston,  1871. 

2.  See,  World,  upon  the  bloody  tree. 

A  translation  by  P.  H.  Molther  of  stanzas  I-X  in  the  Moravian  H.  Bk.,  1742,  1754. 
In  the  1789  and  1886  eds.  it  is  altered  to  "See,  World,  upon  the  shameful  tree."  The 
hymn  appears  in  several  English  hymn  books  in  different  abridged  forms. 

3.  O,  World!   behold  upon  the  tree. 

A  good  translation  omitting  stanza  VII,  by  Aliss  Winkworth,  in  the  2d  Series,  1858, 
of  her  Lyra  Ger.,  and  thence  in  Schaff's  Christ  in  Song  ed.  1869,  p.  174,  and  slightly 
altered  and  beginning: 

"Lord,  be  Thy  Cross  before  our  sight." 

In  Kennedy,  1863. 

4.  Here,  World,  see  thy  Redeemer. 

In  the  Suppl.  to  Ger.  Psalmody,  ed.  1765,  p.  16. 

5.  O  World!  attention  lend  it. 

J.  Gambold,  as  no.  442  in  pt.  I  of  the  Moravian  H.  Bk.,  1754.  Altered  to  "O  World, 
see  thy  Creator."  (1886,  no.  94.) 

6.  O  World!  see  thy  life  languish. 

J.  D.  Burns,  in  the  Family  Treasury,  1859,  pt.  I,  p.  54,  also  in  his  Memoir  and 
Remains,  1869,  p.  246. 

7.  See  World!  thy  Life  assailed. 

/.  Kelly,  1867,  p.  54. 

8.  Here,  World,  thy  great  Salvation  see. 

Dr.  J.  Guthrie,  1869,  p.  87. 

9.  O  World!  see  here  suspended. 

In  Reid's  Praise  Book,  1872,  no.  1009. 

10.  Behold,  O  World,  thy  Life,  thy  Lord. 

Dr.  R.  Maguire,  1883,  p.  143. 

Selected  Stanzas: 

J.  Gambold  in  Part  I  of  the  1734  edition  of  the  Moravian  Hymn  Book. 

i.     O  World  !   attention  lend  it, 
Thy  Life's  on  Cross  suspended 

9  Cf.   p.  21. 


44  PAUL  GERHARDT  AS  A  HYMN  WRITER 

Thy  Healer  sinks  in  death : 

The  sov'reign  Prince  of  Glory 

(Tis  no  fictitious  story) 

With  Shame  and  torment  yields  his  Breath. 

P.  H.  Molther  in  Part  I  of  the  1754  edition  of  the  Moravian  Hymn  Book. 

1.  See,  world,  upon  the  bloody  tree 
Thy  Life  there  sinks  in  Death, 

Cover'd  with  Stripes  and  wounds  for  thee 
Thy  Savior  yields  his  breath. 

2.  Behold  his  Body  swims  in  blood; 
Out  of  his  tender  Heart, 

Deep  sighs  and  Groans  he  sends  to  God 
In  his  excessive  smart. 

Note  in  the  above  stanzas  the  inconsistencies  in  capitalization. 

Miss  Winkworth,  in  her  Lyra  Germanica,  1865. 
I.      Oh  world  !   behold  upon  the  tree 
Thy  Life  is  hanging  now  for  thee, 
Thy  Savior  yields  His  dying  breath ; 
The  mighty  Prince  of  glory  now 
For  thee  doth  unresisting  bow 
To  cruel  stripes,  to  scorn  and  death. 


Auf,  Auf,  mein  Herz  mit  Freuden.— (Coed.  74.) 

[Easter.] 

It  appeared  in  OH.  Praxis,  1648,  no.  141,  in  9  stanzas. 
English  Versions: 

1.  Up!  up!  my  heart  with  gladness,  See. 

/.  Kelly,  1867,  p.  71. 

2.  Up,  Up,  my  heart,  with  gladness,  Receive. 

H.  L.  Frothingham,  in  his  Metrical  Pieces,  1870,  p.  228. 


O  du  allersiiszste  Freude!— (Gocrf.  76.) 

[Whitsuntide.] 

^  3d  ed"  l648'  °f  ^  Praxis>  na  '55  ^  10  stanzas  of  8  lines; 
Wackernagel:   no.  30;   Bachmann:    no.  10.     Cf.  Koch  IV,  232. 

This  is  a  fine  hymn  of  supplication  to  the  Holy  Spirit  for  His  gifts  and 
*  widely  popular  in  Germany,  and  is  included  in  the  Berlin 
S.:    1863   no.  366.     Through  the  version  of  J.  C.  Jacobi  it  has  also 
been  very  largely  used  in  various  forms,  in  Great  Britain  and  America 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY  45 

English  Versions: 

i.     O  Thou  sweetest  source  of  gladness. 

A  full  and  good  translation  by  J.  C.  Jacobi,  in  his  Psal.  Gcr.,  1725,  pt.  II,  p.  6. 
Jacobi's  stanzas  I-IV,  IX,  X,  were  considerably  altered,  as  "Holy  Ghost,  dispel  our 
sadness,"  by  A.  M.  Toplady,  in  the  Gospel  Magazine,  June,  1776.  In  Sedgwick's  ed. 
of  Toplady's  Hymns  and  Sacred  Poems,  1860,  p.  169,  these  stanzas  appear : 

1.  Holy  Ghost,  dispel  our  sadness; 

2.  From  that  height  which  knows  no  measure. 

3.  Come,  Thou  best  of  all  donations. 

4.  Known  to  Thee  are  all  recesses. 

5.  Manifest  Thy  love  for  ever. 

6.  Be  our  Friend  on  each  occasion. 

The  alteration  in  Sedgwick  is,  therefore,  as  follows : 

Gerhardt:       I       II       III       IV      V      VI      VII       (VIII       IX)       X 
Toplady:        13245  6 

The  hymn  appears  in  many  centos,  though  it  usually  begins  with  the  first 
stanza  of  the  text  above,  "Holy  Ghost,  dispel  our  sadness."  There  are 
many  centos  in  the  original  metre,  but  other  metre  has  been  employed  also, 
as: 

(1)  8.7.8.7.4.7  metre.     Cf.  a  greatly  altered  version  of  stanzas  I,  III,  in  Bickersteth's 
Christian  Psalmody,  1883, 

(2)  8.7.8.7.  metre.     10  centos.     Cf.   Cong.  H.  Book,  1836,  2  stanzas,  and  Pennsyl- 
vania Lutheran  Ch.  Book,  1868,  in  3  stanzas  of  8  lines. 

Other  centos  are : 

(1)  Holy  Spirit,  Source  of  gladness,  in  the  American  Unitarian  Bk.  of  Hymns 
1848,  and  other  collections. 

(2)  Come,  Thou  Source  of  sweetest  gladness,  in  Stopford  Brooke's  Christian 
Hymns,  1881.     Both  these  centos  are  altered  forms  of  the  Jacobi-Toplady  text. 

2.     Sweetest  joy  the  soul  can  know. 

A  good  translation,  omitting  stanzas  VIII  and  IX,  by  Miss  Winkworth,  in  her  Lyra 
Ger.,  sd  Series,  1858,  p.  55,  and  again,  altered  in  metre,  as  "Sweetest  Fount  of  holy 
gladness,"  in  her  C.  B.  for  England,  1863,  no.  73.  In  this,  stanzas  II  and  IV,  as  in 
Lyra  Ger.,  are  omitted.  From  this  text  is  derived  no.  408  of  the  American  Hymns  of 
the  Spirit,  1864.  Cf.  also  no.  108  in  Stryker's  Christian  Chorals,  N.  Y.,  1885,  which  is 
taken  from  the  Chorale  Book  text. 

Selected  Stansas: 

J.  C.  Jacobi,  1722,  altered  by  A.  M.  Toplady,  1776,  in  the  Schaff-Gilman 
Library  of  Religious  Poetry,  1881. 

i.      Holy  Ghost,  dispel  our  sadness, 

Pierce  the  clouds  of  sinful  night ; 
•    Come,  thou  source  of  sweetest  gladness, 


46  PAUL  GERHARDT  AS  A  HYMN  WRITER 

Breathe  thy  life  and  spread  thy  light ! 
Loving  Spirit,  God  of  peace ! 
Great  distributer  of  grace! 
Rest  upon  this  congregation, 
Hear,  oh,  hear  our  supplication ! 

Miss  Winkworth,  in  her  Chorale  Book  for  England,  1863. 

I.     Sweetest  Fount  of  holy  gladness, 
Fairest  light  was  ever  shed 
Who  alike  in  joy  and  sadness 
Leavest  none  unvisited; 
Spirit  of  the  Highest  God, 
Lord,  from  whom  is  life  bestow'd, 
Who  upholdest  ev'rything, 
Hear  me,  hear  me,  while  I  sing. 


Nun  danket  all  und  bringet  Ehr. — (Goed.  78.) 
Appeared  in  Ebeling,  1648,  no.  181. 

It  is  based  on  the  Apocryphal  book  Sirach  L.  24,  and  inspired  also  of 
course  by  the  famous  hymn  of  Martin  Rinckart10  "Nun  danket  alle  Gott," 
which  may  be  called  the  German  Te  Deum.  As  a  great  part  of  Rinckart's 
life,  was,  like  Gerhardt's,  spent  amid  the  horrors  of  the  Thirty  Years'  War 
it  is  natural  that  Gerhardt  should  have  been  influenced  by  this  voluminous 
writer.  Rinckart's  hymn  was  translated  by  Miss  Winkworth  in  her  Chorale 
Book,  but  for  some  reason  she  has  passed  over  Gerhardt's  verses.  As 
Rinckart  was  a  good  musician  and  his  melody11  was  well  calculated  to  please 
the  popular  ear  it  is  not  strange  that  his  hymn  has  maintained  itself  ahead 
of  Gerhardt's. 

The  only  English  version  published  is  that  of  /.  Kelly,  1867,  p.  238. 

Stanza  I.      In  grateful  songs  your  voices  raise, 
All  people  here  below, 
To  Him  whom  angels  ever  praise 
In  heav'n  His  glory  show. 

The  translation  has  much  more  flowery  language  than  the  original  and  is 
far  less  direct,  cf.  "In  grateful  songs"  as  compared  with  "Nun  danket  all," 
and  in  the  second  stanza  a  virtual  repetition  of  this  "with  gladsome  songs 
now  fill  the  air"  for  the  very  forceful  reflexive  construction  "Ermuntert 

10  Cf.  P.  ii. 

u  The  melody  as  it  appeared  in  Cruger's  Praxis,  etc.,  is  marked  with  Criiger's  initials, 
but  it  was  quite  likely  adapted  from  a  motet  by  Rinckart. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY  47 

euch."     Throughout  the  poem  the  English  version  brings  out  more  emphat- 
ically than  the  German  the  idea  of  life  in  eternity.     Cf .  stanza  6 : 

And  may  his  blessing  ever  rest. 

and  the  last  two  lines  of  stanza  8 : 

Our  portion  when  from  earth  we  part, 
To  all  eternity. 

In  the  closing  stanza  the  translation  by  losing  the  fervor  of  Gerhardt's 
verses  is  almost  anticlimactic.  The  German  is  a  fervent  prayer  that  God 
may  close  our  eyes  and  appear  to  us  in  eternity,  while  the  English,  in  too 
evident  an  effort  to  effect  a  rhyme  with  rest,  would  seem  to  assign  to  the 
Deity  a  place  almost  secondary  in  importance  to  "our  eyes."  Cf.  stanza  Q.12 

When  sinks  the  heart,  when  strength  decays, 
By  Him  our  eyes  be  press'd 
Then  may  we  see  His  open  face, 
In  everlasting  rest. 


Zweierlei  bitt  ich  von  dir. — (Goed.  80.) 
Appeared  in  Crii.  Praxis,  1648,  no.  240.     Based  on  Proverbs,  XXX,  7-9. 

English  Version: 

I.      Twofold,  Father,  is  my  pray'r, 
Twofold  the  desire  I  there 
Lay  before  Thee,  who  dost  give 
What's  good  for  us  to  receive ; 
Grant  the  pray'r  that  Thou  dost  know, 
Ere  my  soul  to  Thee  must  go 
From  the  body's  bands  below. 

J.  Kelly,  1867,  p.  107. 

The  rhyme  of  the  German  has  offered  great  difficulties  in  the  last  three 
lines  of  each  stanza.  The  translator's  success  in  meeting  this  obstacle  has 
been  indifferent.  Cf . : 


stanza  2 

stanza  3 

stanza  4 

stanza  5 

stanza  6 

poverty 

mood 

swell 

artifice 

graciously 

may 

good 

well 

practices 

me 

lay 

bestowed 

extol 

is 

be 

12  Er  driicke,  wann  das  Herze  bricht 

Uns  unsre  Augen  zu 

Und  zeig  uns  drauf  sein  Angesicht 
*    Dort  in  der  ewign  Ruh. 


48  PAUL  GERHARDT  AS  A  HYMN  WRITER 

O  Gott,  mein  Schopfer,  edler  Furst.—  (Coed.  Si.) 

Based  on  the  Apocryphal  book  Sirach,  XXIII  1-6.     It  appeared  in  Crii.  Praxis,  K 
no.  248. 

English  Versions: 

1.  Creator,  Father,  Prince  of  might! 
Who  life  to  me  art  giving, 
Unless  Thou  guid'st  my  life  aright 
In  vain  here  am  I  living. 

For  while  I'm  living  I  am  dead, 
To  sin  devoted  ever ; 
Whose  life  in  mire  of  sin  is  led, 
The  true  life  he  hath  never 
Beheld  one  moment  even. 

/.  Kelly,  1867,  p.  109. 

2.  God,  my  Creator,  and  my  Lord, 
Thou  Father  of  my  spirit, 

To  me  thy  constant  grace  afford, 
Or  life— I  well  may  fear  it : — 
Nay,  e'en  while  living  were  I  dead, 
And  in  my  sins  must  perish ; 
Whose  with  Christ,  the  living  bread, 
Shall  fail  his  soul  to  nourish, 
Must  sink  to  death  eternal. 

Dr.  H.  Mills  in  his  Horae  Gcrmanicae,  1856. 


Ich  hab  in  Gottes  Herz  und  Sinn. —  (Good.  83.) 

[Resignation.] 

It  appeared  in  Crii.  Praxis,  1648,  no.  249,  in  12  stanzas. 
English  Versions: 

1.  I  into  God's  own  heart  and  mind. 

/.  Kelly,  1867,  p.  219. 

2.  To  God's  all-gracious  heart  and  mind. 

Miss  Winkworth,  1869,  p.  213. 


Nicht  so  traurig,  nicht  so  sehr.—  (Good.  89.) 
[Christian  Contentment.] 

Founded  on  Psalm  CXVI,  7;  Psalm  XLII,  6-12;  i  Tim.  VI,  6.  Appeared  in  the 
3d  ed.,  1648,  of  Crii.  Praxis,  no.  251,  in  15  stanzas  of  6  lines;  thence  in  Wackcrnagel: 
no.  53;  Bachmann:  no.  16;  Berlin  G.  L.  S.:  1863,  no.  851. 

English  Versions: 

i.    Ah!  grieve  not  so,  nor  so  lament. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY  49 

A  free  rendering  by  Mrs.  Findlater  and  Miss  Borthwick  of  stanzas  I,  II,  VII-X, 
XIII,  XV,  in  the  first  Series,  1854,  of  the  H.  L.  L.,  p.  48  (1884,  p.  50). 

2.  Why  this  sad  and  mournful  guise. 

Miss  Dunn,  1857,  p.  85. 

3.  Not  so  darkly,  not  so  deep. 

Miss  Warner,  1858  (1861,  p.  58). 

4.  O  my  soul,  why  dost  thou  grieve. 

/.  Kelly,  1867,  p.  155. 

Selected  Stanza: 

Mrs.  Findlater  (and  Miss  Borthwick)  in  their  Hymns  from  the  Land  of 
Luther,  1884. 

i.     Ah !    grieve  not  so,  nor  so  lament, 
My  soul !   nor  troubled  sigh, 
Because  some  joys  to  others  sent 
Thy  Father  may  deny; 
Take  all  as  love  that  seems  severe — 
There  is  no  want  if  God  is  near. 


Nach  dir,  O  Herr,  verlanget  mich. —  (Goed.  91.) 
Based  on  Psalm  XXV.     Appeared  in  Crti.  Praxis,  1648,  no.  276. 

English  Version: 

I.      For  thee,  Lord,  pants  my  longing  heart, 
My  hope  and  confidence  Thou  art ; 
My  hope  can  never  shaken  be, 
Nor  e'er  be  put  to  shame  by  Thee. 

A  full  translation  by  /.  Kelly,  1867,  p.  88.  This  is  one  of  the  best  pieces 
of  interpretation  as  regards  harmony  and  rhythm  and  the  spirit  of  the 
original,  that  he  has  given  us.  Kelly  is  at  his  best  in  rendering  the  "long 
metre"  hymns  (cf.  Goed.  260,  287,  etc.).  Stanza  9  is  especially  noteworthy: 

Nun,  Herr,  ich  bin  dir  wolbekannt,  Ah !    Lord  full  well  Thou  knowest  me, 

Mein  Geist,  der  schwebt  in  deiner  Hand;  My  spirit  lives  and  moves  in  Thee; 

Du  siehst,  wie  meine  Seele  thrant  Thou  seest  how  my  bleeding  heart 

Und  sich  nach  deiner  Hiilfe  sehnt.  Longs  for  the  help  Thou  canst  impart. 


Ich  erhebe,  Herr,  zu  dir. — (Goed.  93.) 
Based  on  Psalm  CXXI.     It  appeared  in  Crti.  Praxis,  1648,  no.  279. 

English  Version: 

if    Lord !    to  Thee  alone  I  raise 
Evermore  mine  eager  eyes, 


50  PAUL  GERHARDT  AS  A  HYMN  WRITER 

Upturn'd  is  my  constant  gaze 
To  the  hills  that  pierce  the  skies : 
To  the  hills  whence  flow  to  me 
Help  and  saving  health  from  Thee! 

Stanza  i  of  the  complete  translation  by  /.  Kelly,  1867,  P-  135- 


Gott  Lob!  nun  1st  erschcllen. —  (Good.  95.) 

[Thanksgiving  for  the  Proclamation  of  the  Peace   of  Westphalia  in   1648  after 
the  Thirty  Years'  War.} 

It  appeared  in  Crii.  Praxis,  1653,  no.  401,  1656,  no.  409,  in  6  stanzas  of   12  lines 
Wackernagel:   no.  64;  Bachmann:   no.  84;    Unv.  L.  S.:    1851,  no.  589. 

English  Versions: 

i.     Thank  God  it  hath  resounded. 

The  blessed  voice  of  joy  and  Peace! 

And  murder's  reign  is  bounded, 

And  spear  and  sword  at  last  may  cease. 

Bright  hope  is  breaking  o'er  us 

Arise,  my  land  once  more, 

And  sing  in  full-toned  chorus 

Thy  happy  songs  of  yore;     .     .     . 

Miss  Winkworth  in  her  Lyra  Ger.,  1858,  p.  156,  and  her  Chorale  Book,  1863. 
Stanzas  I,  V,  VI,  form  no.  49,  in  M.  W.  Stryker's  Christian  Chorals,  1885. 

2.     Praise  God!  for  forth  hath  sounded. 
/.  Kelly,  1867,  p.  251. 


Du  bist  zwar  mein  und  bleibest  mein. —  (Gocd.  100.) 
[For  the  Bereaved.} 

This  is  a  beautiful  hymn  for  consolation  of  parents  on  the  loss  of  a  son. 
The  occasion  of  the  poem  was  the  death  of  Constantin  Andreas,  younger 
son  of  Johannes  Berkov,  pastor  of  St.  Mary's  Church,  Berlin.  It  was  first 
printed  as  one  of  the  Dulcia  amicorum  solatia  at  the  end  of  the  funeral 
sermon  by  Georg  Lilius,  Berlin,  1650.  Included  in  Ebeling,  1667,  6,  no.  72, 
in  12  stanzas. 
English  Versions: 

1.  Thou'rt  mine,  yes,  still  thou  art  mine  own. 

Miss  Winkworth,  in  her  Lyra  Ger.,  1858,  p.  123. 

2.  Yes,  thou  art  mine,  still  mine,  my  son. 

J.  D.  Burns,  in  the  Family  Treasury,  p.  8,  and  his  Remains,  1869,  p.  249. 

3.  Mine  art  thou  still,  and  mine  shalt  be. 

/.  Kelly,  1867,  p.  333. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY  51 

4.     Thou  art  mine  own,  art  still  mine  own. 
Dr.  J.  Guthrie,  1869,  p.  100. 

Selected  Stanza: 

I.      Thou'rt  mine,  yes,  still  thou  art  mine  own ! 
Who  tells  me  thou  art  lost? 
But  yet  thou  art  not  mine  alone, 
I  own  that  He  who  cross'd 
My  hopes,  hath  greatest  right  in  thee ; 
Yea,  though  He  ask  and  take  from  me 
Thee,  O  my  son,  my  heart's  delight, 
My  wish,  my  thought,  by  day  and  night. 

Miss  Wink-worth,  1858. 


Lobet  den  Herren,  alle  die  Ihn  furchten! — (Goed.  106.) 
[Morning.} 

Included  in  the  Crii. — Rungc,  1653,  no.  7,  in  10  stanzas  of  5  lines ;  thence  in  Wacker- 
nagel:  no.  100;  Bachmann:  no.  21;  Berlin  G.  L.  S.:  1863,  no.  1063. 

English   Versions: 

1.  Praise  God!  revere  Him!  all  ye  men  that  fear  Him! 

This  is  from  the  version  in  Bunsen's  Allg.  G.  B.,  1846,  no.  167;  stanza  i  being  from 
Gerhardt  and  stanzas  2,  3,  from  "Lobet  den  Herren,  denn  er  ist  sehr  freundlich" 
(which  Wackernagel  quotes  from  a  Niirnberg  broadsheet  about  1560).  It  appeared 
in  the  Dalston  Hospital  H.  Bk.,  1848,  no.  55,  signed  "A.  G." 

2.  Our  Lord  be  praising,  All  His  glory  raising. 

H.  J.  Buckoll,  1842,  p.  27. 

3.  Praise  ye  Jehovah,  all  ye  men  who  fear  Him. 

/.  Kelly,  1867,  p.  279. 


Warum  willst  du  drauszen  stehen. —  (Gocd.  108.) 
[Advent.] 

Suggested  by  Gen.  XXIV,  31.  It  appeared  in  Crii. — Runge,  1653,  no.  78,  in  9  stanzas 
of  8  lines;  viz.  stanzas  I-VII,  XI,  XII,  of  the  full  form;  stanzas  VIII-X  being  added 
in  Ebeling,  1667,  5,  no.  50.  The  full  text,  in  12  stanzas,  appeared  also  in  Wackernagel: 
no.  2;  Bachmann:  no.  23 ;  Unv.  L.  S.:  1851,  no.  20. 

English  Versions: 

1.  Wherefore  dost  Thou  longer  tarry. 

Miss  Winkworth,  omitting  stanzas  VIII-X,  in  her  Lyra  Ger.,  2d  Series,  1858,  p.  6. 
In  her  C.  B.  for  England,  1863,  no.  153,  the  translation  of  stanzas  III,  V,  XI,  are 
omitted. 

2.  Wherefore  dosfr  Thou,  blest  of  God. 

R.  Massie,  in  Lyra  Domestica,  1864,  P-  9°- 


52  PAUL  GERHARDT  AS  A  HYMN  WRITER 

3.    Why,  without,  then,  art  Thou  staying. 
/.  Kelly,  1867,  P-  5- 

Selected  Stanza: 

i.     Wherefore  dost  Thou  longer  tarry 
Blessed  of  the  Lord  afar? 
Would  it  were  Thy  will  to  enter 
To  my  heart,  O  Thou  my  Star, 
Thou  my  Jesus,  Fount  of  pow'r, 
Helper  in  the  needful  hour ! 
Sharpest  wounds  my  heart  is  feeling, 
Touch  them,  Savior,  with  Thy  healing ! 

Miss  Winkworth,  1858. 


Zeuch  ein  zu  deinen  Thoren.—  (Coed,  in.)13 
[Whitsuntide.} 

Cf.  Koch  IV,  231.  Appeared  in  Cru.—Runge,  1653,  no.  157,  in  12  stanzas,  viz: 
stanzas  I-VIII,  XII,  XIII,  XIV,  XVI,  of  the  full  poem.  Stanza  XV  was  added  in 
Ebeling,  1666-67,  no.  LXXX,  and  stanzas  IX-XI  in  /.  H.  Feustking's  ed.,  1707.  The 
full  form  in  16  stanzas  is  in  Wackernagel:  no.  32;  and  Bachmann:  no.  25;  and  the 
Unv.  L.  S.:  1851,  no.  184.  The  hymn  was  undoubtedly  written  during  the  Thirty 
Years'  War. 

English  Versions: 

1.  Retake  thy  own  Possession. 

This  is  a  free  translation  omitting  stanzas  X-XII,  in  pt.  II,  1725,  of  J.  C.  Jacobi's 
Psalmodia  Germanica,  p.  9.  In  his  ed.  of  1732,  it  is  greatly  altered,  and  begins  "In 
me  resume  thy  dwelling."  From  this  form  the  translations  of  stanzas  I,  VI,  XVI, 
were  included  unaltered  in  the  Scottish  Evang.  Union  H.  Bk.,  1856. 

2.  Come  to  Thy  temple  here  on  earth. 

A  good  translation  omitting  stanza  IV,  by  Miss  Winkworth  in  her  Lyra  Ger.,  ist 
Series,  1855,  p.  113.  From  this  the  translations  of  stanzas  I,  II,  VIII,  XII,  were 
repeated  in  the  Pennsylvania  Luth.  H.  Bk.,  1865. 

3.  O  enter,  Lord,  Thy  temple. 

A  good  translation  by  Miss  Winkworth  in  her  Chorale  Book,  of  stanza  I,  II, 
V-VIII,  XIV,  XVI,  based  on  her  Lyra  Ger.  version.  Included  in  full  and  unaltered 
as  no.  482,  483  in  Dr.  Thomas'  Augustine  H.  Bk.,  1866.  No.  483  begins  "All  love  is 
thine,  O  Spirit"  (stanza  VII).  In  the  Pennsylvania  Luth.  Ch.  Bk.,  1868,  no.  250,  is 
stanzas  I-III,  VI,  VIII,  and  in  the  Ohio  Luth.  Hyl,  1880,  no.  106,  is  stanzas  I,  II,  V, 
XIV,  XVI. 

4.  Retake  thy  own  possession,  Thou  glorious  Guest  of  Hearts. 

In  Select  H.  from  Ger.  Psal,  Tranquebar,  1754,  p.  43,  and  the  Sup  pi.  to  Ger.  Psalt., 
ed.  1765,  p.  26. 

13  For  adaptations  of  this  hymn  cf.  p.  136. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY  53 

5.  Come,  O  Thou  Holy  Dove. 

Miss  Dunn,  1857,  p.  104. 

6.  Come,  enter  Thine  own  portal. 

Miss  Cox,  1864,  p.  117. 

Stanzas  i  of  Miss  Winkworth's  versions  are  given  below: 

Come  to  Thy  temple  here  on  earth,  O  enter,  Lord,  Thy  temple, 

Be  Thou  my  spirit's  guest,  Be  Thou  my  spirit's  guest ! 

Who  givest  us  of  mortal  birth  Who  at  my  birth  didst  give  me 

A  second  birth  more  blest ;  A  second  birth  more  blest. 

Spirit  beloved,  Thou  mighty  Lord,  Thou  in  the  Godhead,  Lord, 

Who  with  the  Father  and  the  Son  Though  here  to  dwell  Thou  deignest, 

Reignest  upon  an  equal  throne,  Forever  equal  reignest, 

Art  equally  adored !  Art  equally  adored. 

Lyra  Ger.,  1855.  Chorale  Book,  1863. 


Du  Meine  Seele,  singe. —  (Gocd.  115.) 

{Psalm  CXLVL] 
Appeared  in  Cru. — Runge,  1653,  n°-  :83,  in  10  stanzas. 

E  nglish  Ve  rslo  n : 

i.     O  Come,  my  soul  with  singing. 

Miss  Burlingham,  in  the  British  Herald,  Jan.,  1866,  p.  207,  and  as  no.  423  in  Reid's 
Praise  Bk.,  1872. 


Ich  singe  dir  mit  Herz  und  Mund. —  (Goed.  118.) 
[Thanksgiving.] 

Cf.  Koch  IV,  p.  95.  First  published  in  Crii. — Runge,  1653,  no.  186,  in  18  stanzas  of 
4  lines ;  thence  in  Wackcrnagel:  no.  85 ;  Bachmann:  no.  27;  Crii.  Praxis:  1656;  Ber- 
lin G.  L.  S.:  1863. 

English  Versions: 

1.  O  Lord!   I  sing  with  mouth  and  heart. 

Translated  in  full  by  /.  Kelly,  1867,  p.  225.  A  cento  in  6  stanzas  is  found  in  the 
Ohio  Lutheran  Hymnal,  1880,  no.  364. 

2.  He  never  yet  has  made  mistakes. 

Stanzas  XVII,  XVIII,  as  no.  475,  in  part  I  of  the  Moravian  H.  Bk.,  1754. 

3.  I  sing  to  Thee  with  Heart  and  Tongue. 

Appeared  in  the  Suppl.  to  Ger.  Psalmody,  ed.  1/65,  p.  65.  Included  in  the  Moravian 
H.  Bk.,  1789,  no.  802  (1886,  no.  647),  altered,  and  beginning:  "I'll  praise  Thee  with  my 
heart  and  tongue." 

4.  I'll  sing  to  Thee  with  mouth  and  heart. 

Miss  Cox,  1864,  p.  154. 


54  PAUL  GERHARDT  AS  A  HYMN  WRITER 

5.  I'll  sing  to  Thee  with  heart  and  mouth. 

Miss  Manington,  1863,  p.  108. 

6.  My  heart's  warm  gush  breaks  forth  in  mirth. 

E.  Massie,  1867. 

Der  Herr,  der  aller  Enden.— (Good.  120.) 
Founded  on  Psalm  XXIII.    Appeared  in  the  Cril.-Runge,  1653,  no.  224. 

English  Version: 

Stanza  i.      The  Lord,  the  earth  who  ruleth, 
And  with  His  hand  controlleth, 
Whose  goodness  never  endeth, 
He  watcheth  me  and  tendeth.     .     .     . 

A  good  and  full  translation  by  /.  Kelly,  1867,  p.  266,  with  a  rather  unusual 
combining  of  literality  and  metre,  especially  in  stanza  9 : 

Du  salbst  mein  Haupt  mit  Oele  My  head  with  oil  anointest 

Und  fullest  meine  Seele,  My  empty  soul  appointest 

Die  leer  und  diirstig  sasze,  Of  every  good  and  pleasure 

Mit  vollgeschenktem  Masze.  A  full  o'erflowing  measure. 


Warum  sollt  ich  mich  denn  gramen. —  (Good.  122.) 
(Cf.  p.  1 08  ff.) 


Wol  dem  Menschen,  der  nicht  wandelt. —  (Good.  124.) 
Appeared  in  Cru. — Runge,  1653,  n°-  24T- 

It  would  be  inconceivable  that  Gerhardt  should  omit  the  first  Psalm  from 
his  themes,  and  his  hymn  adapts  so  well  the  biblical  text  that  we  should 
expect  more  than  the  one  English  version  of  /.  Kelly,  1867,  p.  130.  In  his 
rendering  the  translator  has  done  well  to  infuse  much  of  the  poetic  language 
of  the  English  Bible. 

Stanza  I.  Bless'd  is  he  who  never  taketh 

Counsel  of  ungodly  men ! 
Bless'd,  the  right  who  ne'er  forsaketh, 
Nor  in  sinners'  paths  is  seen, 
Who  the  scorners'  friendship  spurns, 
From  their  seats  away  who  turns, 
Who  delight  in  God's  word  taketh, 
This  his  meditation  maketh. 

Stanza  2.  Bless'd  is  he  who  pleasure  taketh 

(Lines  i  &  2.)    In  God's  laws'  most  perfect  way. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY  55 

Stanza  3.  He  will  truly  ever  flourish 

(Lines  i  &  2.)    Who  God's  word  delights  to  do. 

Stanza  4.  But  he  who  in  sin's  ways  goeth 

(Lines  i  &  2)    Is  like  chaff  the  wind  before. 


Wol  dem,  der  den  Herren  scheuet. —  (Goed.  130.) 
Appeared  in  Crii. — Runge,  1653,  n°-  243- 

The  CXIIth  Psalm  of  David  celebrating  the  prosperity  of  the  godly  is 
the  basis  for  Gerhardt's  beautiful  hymn  which  has  found  great  popularity 
in  German  hymn-books.  The  translation  by  /.  Kelly,  1867,  p.  132,  is  the 
only  English  version  published.  While  Gerhardt  follows  quite  closely  the 
poetic  language  of  the  Bible,  the  translator  departs  often  from  what  might 
be  expected  as  the  normal  English  equivalent  of  Gerhardt's  diction.  In  the 
following  stanzas  the  translation  brings  out  excellently  Gerhardt's  simile 
and  metaphor. 

Stanza  i.       Bless'd  is  he  the  Lord  who  loveth, 
At  His  word  doth  tremble  aye ! 
Bless'd  whose  heart  him  freely  moveth 
God's  commandments  to  obey. 
Who  the  Highest  loves  and  fears, 
Findeth  increase  with  the  years. 
Of  all  that  to  him  is  given 
By  the  bounteous  hand  of  Heaven. 

Stanza  5.      When  the  black  clouds  o'er  them  lighten, 
And  the  pealing  thunders  shock 
They  shall  sit  and  nought  shall  frighten, 
Like  the  dove  hid  in  the  rock  ;14 
They'll  remain  eternally, 
And  their  memory  shall  be 
Upon  every  side  extending, 
As  their  branches  trees  are  sending.15 

Cf.  also  lines  i  and  2  of  stanza  2: 

His  dear  children  shall  stand  ever16 
Like  to  roses  in  their  blow ;     .     .     . 


Schwing  dich  auf  zu  deinem  Gott. —  (Goed.  135.) 

Appeared  in  Crii. — Runge,  1653,  no.  288,  under  the  title   "Trost  in  schwerer  Anfech- 
tung." 

14  Cf.  line  36:    "Wie  ein  Voglein  in  der  Kluft." 

15  Line  40:    "Wie  die  edlen  Zweig  ausbreiten." 

16  Seine  Kinder  werden  stehen 
Wie  die  Rosen  in  der  Bliit. 


56 

The  only  English  version  of  this  fervent  hymn  of  consolation  in  despon- 
dency and  temptation  is  that  of  /.  Kelly,  1867,  p.  195.  Nearly  every  line 
has  the  force  and  directness  of  the  original  especially  in  the  verses  addressed 
to  the  Soul,  charging  it  to  defy  the  wiles  of  Satan  and  to  seek  strength  and 
consolation  in  Nature's  bounties.  Gerhardt's  poem  is  one  of  close  intro- 
spection and  self  analysis,  and  the  translator  interprets  with  feeling  its 
spirit  of  "Trost." 

IN  DESPONDENCY  AND  TEMPTATION. 

Stanza  i.      Look  up  to  thy  God  again, 
Soul,  sunk  in  affliction ! 
Shall  He  be  reproach'd  by  men 
Through  thy  sore  dejection? 
Satan's  wiles  dost  thou  not  see? 
By  severe  temptation, 
Gladly  would  he  keep  from  thee 
Jesu's  consolation. 


Was  Gott  gefallt,  mein  frommes  Kind.—  (Goed.  139.) 
[Resignation  to   "what  pleases  God."} 

First  appeared  in  Crii.—Runge,  1653,  no.  290,  in  20  stanzas  of  5  lines;    thence  in 
Wackernagel:   no.  60;  Bachmann:   no.  37;    Unv.  L.  S.:    1851,110.723. 
English  Versions: 

1.  What  God  decrees,  child  of  his  love. 

A  good  rendering  of  stanzas  I,  II,  V,  VI,  VIII,  XII,  XV,  XVIII,  XX    bv  Mrs 

indlater  m  the  3d  Series,  1858,  of  the  H.  L.  L.,  p.  49  (1884,  p.  170).     included'in  full 

Bishop  Ryles  Collect**,  1860,  no.  171,  and  abridged  in  Christian  Hymns,  Adelaide 

beginning     'What  God  decrees,  take  patiently,"    in  Kennedy,  1863,  no.  1344! 

2.  What  pleaseth  God  with  joy  receive. 

Miss  Dunn,  1857,  p.  94. 

3-  What  pleases  God,  O  pious  soul. 

Miss  Winkworth,  1858,  p.  193. 

4-  What  pleaseth  God,  my  faithful  child. 

/.  Kelly,  1867,  P-  189. 
Selected  Stanzas: 


Miss  Winkworth   in  her  L,™  Gmm.         Mr,  Fin(ilater  in  hef 

*tU,      lOO->.  T  1  r      r 

Land  of  Luther,  1884. 
pleases  God,  O  pious  soul  T     wv,.,*  r  A  j 

Thoa  knowes,  nought  cathee  belide  here  ! 

But  pleases  God.  R        "', 

Be  comforted  !    thou  needst  not  fear 
What  pleases  God. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY 


57 


2.  The  best  will  is  our  Father's  will, 
And  we  may  rest  there  calm  and  still, 
Oh  make  it  hour  by  hour  thine  own, 
And  wish  for  nought  but  that  alone, 

Which  pleases  God. 

3.  His  thought  is  aye  the  wisest  thought; 
How  oft  man's  wisdom  comes  to  nought ; 
Mistake  or  weakness  in  it  lurks, 

It  brings  forth  ill,  and  seldom  works 
What  pleases  God. 


2.    The  wisest  will  is  God's  own  will : 
Rest  on  this  anchor,  and  be  still ; 
For  peace  around  thy  path  shall  flow, 
When  only  wishing  here  below 
What  pleases  God. 


Die  Zeit  ist  nunmehr  nah. — (Coed.  142.) 

[Day  of  Judgment — Second  Advent.] 

Based  on  Acts  III,  20.  It  first  appeared  in  the  Cru. — Runge,  1653,  no.  367,  in  18 
stanzas  of  6  lines;  thence  in  Wackernagel:  1843,  no.  119  (1874,  no.  124)  ;  Bachmann: 
no.  40;  Berlin  G.  L.  S.:  ed.  1863,  no.  1517. 

English  Versions: 

1.  O  Christ!  how  good  and  fair. 

A  translation  of  stanzas  III,  IV,  VI,  VII,  X-XIII,  XVII,  by  Mrs.  Charles  in  her 
Voice  of  Christian  Life  in  Song,  1858,  p.  242. 

2.  May  I  when  time  is  o'er. 

A  translation  of  stanzas  VII,  VIII,  in  the  Moravian  H.  Bk.,  1789,  (in  later  eds.)  "I 
shall  when  time  is  o'er." 

3.  The  time  is  very  near. 

/.  Kelly,  1867,  p.  341. 


Wir  singen  dir,  Emanuel. —  (Goed.  150.) 
(Cf.  p.  no  ff.) 


O  Jesu  Christ!    dein  Kripplein  ist.—  (Goed.  153.) 
[Christmas.] 

At  the  Manger  in  Bethlehem.     It  appeared  in  Cru.  Praxis,  1653,  1656,  no.  101,  in  15 
stanzas. 

English  Versions: 

1.  Be  not  dismay'd — in  time  of  need. 

(Stanza  XI)  in  the  Moravian  H.  Bk.,  1789,  no.  236. 

2.  O  blessed  Jesus!   This. 

Miss  Winkworth,  in  her  Lyra  Ger.,  1858,  p.  18. 

3.  O  Jesus  Christ!   Thy  cradle  is. 

Miss  Manington,  1864,  p.  41. 


58  PAUL  GERHARDT  AS  A  HYMN  WRITER 

4.    Thy  manger  is  my  paradise. 

/.  Kelly,  1867,  P-  26. 
Selected  Stanza: 

Miss  Winkworth  in  her  Lyra  Germanic  a,  1858,  p.  18. 

GOD  WITH  US. 
Stanza  i.      O  Blessed  Jesus!     This 
Thy  lowly  manger  is 

The  Paradise  where  oft  my  soul  would  feed : 
Here  is  the  place,  my  Lord, 
Where  lies  the  Eternal  Word 
Clothed  with  our  flesh,  made  like  to  us  indeed. 


Frolich  soil  mein  Herze  springen. — (Coed.  155.) 
[Christmas.] 

(Cf.  Koch  IV,  p.  130.) 

Appeared  in  Off.  Praxis,  1653  and  1656,  no.  104,  in  15  stanzas  of  8  lines ;  reprinted 
in  Wackernagel:  no.  5;  and  Bachmann:  no.  44;  Unv.  L.  S.:  1851,  no.  35. 

Lauxmann,  in  Koch,  VIII,  26,  thus  analyses  it : 

"First  a  trumpet  blast:  Christ  is  born,  God's  Champion  has  appeared  as 
a  Bridegroom  from  his  chamber  (I,  II).  In  the  following  4  stanzas  the 
poet  seeks  to  set  forth  the  mighty  value  of  the  Incarnation :  is  it  not  love 
when  God  gives  us  the  Son  of  His  Love  (III),  the  Kingdom  of  Joy  (IV) 
and  His  Fellowship  (V)  ?  Yes,  it  is  indeed  the  Lamb  of  God  who  bears 
the  sin  of  the  world  (VI).  Now  he  places  himself  as  herald  by  the  cradle 
of  the  Divine  Child  (VII).  He  bids,  as  in  Matt.  XI,  28,  all  men  (VIII), 
all  they  that  labor  (IX),  all  the  heavy  laden  (X),  and  all  the  poor  (XI), 
to  draw  near.  Then  in  conclusion  he  approaches  in  supplication  like  the 
shepherds  and  the  Wise  Men  (XII-XV).  He  adores  the  child  as  the 
source  of  life  (XII),  his  Lamb  of  God  (XIII),  his  Glory  (XIV),  and 
promises  to  be  ever  true  to  Him  (XV).  It  is  a  glorious  series  of  Christmas 
thoughts,  laid  as  a  garland  on  the  manger  at  Bethlehem." 

Cruger  gave  the  hymn  an  original  melody  in  1656  (as  in  L.  Erk's  Choral- 
buch,  1863,  no.  86),  but  the  melody  generally  used  (in  Church  Hymns  called 
"Bonn")  is  that  by  J.  G.  Ebeling  in  the  Geistliche  Andachten,  1666,  to 
"Warum  sollt  ich  mich  denn  gramen."17  The  hymn  is  very  beautiful,  but 
somewhat  long,  hence  generally  abridged. 
English  Versions: 

i.     Let  the  voice  of  glad  thanksgiving. 

A  good  translation  of  stanzas  I-III,  VI-IX,  by  A.  T.  Russell,  as  no.  15,  in  the 
Dalston  Hospital  Hymn  Bk.,  1848,  and  repeated,  in  part,  as  no.  56,  in  his  own  Psalms 
and  Hymns,  1851. 

17  Cf.  p.  1 08. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY  59 

2.  All  my  heart  this  night  rejoices. 

A  beautiful,  but  rather  free  translation  omitting  stanzas  III-V,  XIII,  XIV,  by  Miss 
Winkworth  in  the  2d  series  of  her  Lyra  Ger.,  1858,  p.  13.  In  America  it  appeared  in 
the  Dutch  Reformed  Hymns  of  the  Church,  1869,  the  Hymns  and  Songs  of  Praise, 
N.  Y.,  1874,  etc.  Parts  have  appeared  also  in  the  New  Zealand  Hymnal,  1872,  the 
Evangelistic  Hymnal,  N.  Y.,  1880,  and  Laudcs  Domini,  N.  Y.,  1884,  etc.  It  is  very 
generally  included  in  cento  form  in  nearly  all  current  American  hymnals. 

3.  All  my  heart  with  joy  is  springing. 

A  free  translation  by  Dr.  Kennedy  in  his  Hymnologia  Christiana,  1863,  no.  100, 
omitting  stanzas  III-V,  IX,  XIII,  XIV. 

4.  Lightly  bound  my  bosom,  ringing. 

A  translation  in  full,  by  Dr.  M.  Loy,  in  the  Ohio  Luth.  Hymnal,  1880. 

5.  Now  in  His  manger  He  so  humbly  lies. 

A  translation  of  stanza  V  in  the  Moravian  H.  Bk.,  1754,  no.  435. 

6.  Up,  my  heart!   rejoice  with  singing. 

As  a  broadsheet  for  Christmas,  1/70. 

7.  Rise,  my  soul,  shake  off  all  sadness. 

P.  H.  Molther,  in  the  Moravian  H.  Bk.,  1789  and  1886. 

8.  Now  with  joy  my  heart  is  bounding. 

/.  Kelly,  1867,  p.  18. 

9.  Up,  with  gladness  heavenward  springing. 

E.  Massie,  1867,  p.  24. 

10.  Joyful  be  my  spirit  singing. 

M.  L.  Frothingham,  1870,  p.  260. 

11.  Joyful  shall  my  heart,  upspringing. 

M.  W.  Stryker,  1883,  p.  30. 

Selected  Stanzas: 

A.  T.  Russell,  in  his  Psalms  and  Hymns,  1851. 

i.      Let  the  voice  of  glad  thanksgiving 
Upward  rise,  to  the  skies — 
Praises   from  all  living. 
Hark !    the  angel-choirs  from  heaven 
Hither  fly !    hark !    they  cry, 
Christ  to  earth  is  given ! 

Miss  Winkworth,  1858,  in  her  Lyra  Germanica. 

i.     All  my  heart  this  night  rejoices, 

As  I  hear,  far  and  near, 

Sweetest  angel  voices : 
f      "Christ  is  born,"   their  choirs  are  singing, 

Till  the  air  everywhere 

Now  with  joy  is  ringing. 


6o  PAUL  GERHARDT  AS  A  HYMN  WRITER 

Ich  steh  an  deiner  Krippen  hier.—  (Goed.  158.) 
[Christmas.]* 

Included  in  Cri,.  Praxis:    1653,  no.   105,   1656,  no.   105,  in   15   stanzas   of   7  lines; 
Wackernagel:   no.  9;  Bachnann:   no.  45;   Berlin  G.  L.  S.:    1863,  no.  167. 

This  is  a  beautiful  hymn  in  which  the  poet  puts  himself  in  the  place  of 
the  shepherds  and  the  wise  men  visiting  Bethlehem;    and  in  praise  and 
adoration  tenders  his  devotion,  his  love  and  his  all  to  the  Infant  Savior  i 
the  manger. 

English  Versions: 

1.  Stanzas  I,  IV,  VII,  XV,  have  been  translated  by  Rev.  A.  T.  Russell  in  his  Ps. 
and  Hys.,  1851, 'no.  57.    His  translation  of  stanza  I  is  as  follows: 

My  faith  Thy  lowly  bed  beholds, 

My  Life  and  my  Salvation ; 

Thee  in  my  heart  my  faith  enfolds, 

And  brings  Thee  her  oblation. 

My  heart  and  soul,  will,  spirit,  mind, 

Oh,  take  them  all,  to  Thee  resign'd : 

Make  all  to  Thee  well-pleasing. 

2.  I  stand  beside  Thy  manger-bed. 

Miss  Manington,  1864,  p.  38. 

3.  Now  at  the  manger  here  I  stand. 

/.  Kelly,  1867,  p.  32- 


H6r  an!  mein  Herz,  die  sieben  Wort. — (Goed.  161.) 
[Passiontide.     (The  seven  words  from  the  Cross.)] 

Founded  on  the  hymn  of  J.  Boschenstein :  "Da  Jesus  an  dem  Kreuze  stund"  (which 
was  called  a  translation  from  the  Latin  of  Peter  Bolandus,  "Stabat  ad  lignum  crucis"). 
It  appeared  in  Cril.  Praxis,  1653,  no.  137,  1656,  no.  137,  in  15  stanzas. 

English  Versions: 

i.     Come  now,  my  soul,  thy  thoughts  engage. 
Dr.  H.  Mills,  1845,  1856,  p.  309. 

"This  is  Gerhardt's  third  Christmas  hymn  (cf.  also  Goed.  150,  153,  155,  310,  312). 
It  is  very  probable  that  in  composing  it  the  poet  had  in  mind  the  words  of  St.  Jerome 
of  Strido,  abbot  of  a  monastic  brotherhood  in  Bethlehem  386-420:  "As  often  as  I  gaze 
on  this  place  (the  manger  at  Bethlehem),  so  often  does  my  heart  converse  with  the 
Infant  Jesus  which  lay  there  in  the  manger  ...  I  say  ...  "I  must  give  Thee  some- 
thing, Dear  Child!  I  will  give  Thee  all  my  wealth,"  and  the  child  answered — "Give 
it  to  the  poor,  I  will  accept  it  as  if  it  were  given  me." — cf.  Koch  IV,  p.  137. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY  61 

2.  Seven  times  the  Savior  spake — my  heart. 

R.  Massie,  in  the  British  Herald,  Sept.,  1865,  p.  133. 

3.  My  heart!   the  seven  words  hear  now. 

/.  Kelly,  1867,  p.  63. 

Selected  Stanza: 

Dr.  H.  Mills  in  his  Horae  Germanicae,  1856. 

i.      Come  now,  my  soul,  thy  thoughts  engage 
On  what  by  Christ  was  spoken, 
When  on  the  cross  man's  deadly  rage 
With  griefs  his  heart  had  broken. 
His  words  may  prove  A  gift  of  love, 
The  best  his  love  could  offer ; 
Keep  them  in  store,  And  learn  their  pow'r, 
When  call'd  thyself  to  suffer. 


Sei  frolich  alles  weit  und  breit. — (Goed.  171.) 
Appeared  in  Cru.  Praxis,  1656,  no.  I7i.19 

English  Version: 

i.     Be  joyful  all,  both  far  and  near, 
Who  lost  were  and  dejected: 
To-day  the  Lord  of  glory  here, 
Whom  God  Himself  elected 
As  our  Redeemer,  who  His  blood 
Upon  the  cross  shed  for  our  good, 
Hath  from  the  grave  arisen. 

/.  Kelly,  1867,  p.  75. 

This  is  stanza  i  of  a  complete  translation  of  the  seven  stanzas  of  Ger- 
hardt's  Easter  hymn,  keeping  well  the  spirit  and  fervor  of  the  original,  at 
the  same  time  observing  the  literality  in  an  unusually  difficult  metre.  Cf. 
stanza  7: 

Nu  Gott  sei  Dank,  der  uns  den  Sieg  Now  praised  be  God,  who  vict'ry  hath 

Durch  Jesum  hat  gegeben  To  us  through  Jesus  given, 

Und  uns  den  Frieden  fur  den  Krieg  Who  peace  for  war,  and  life  for  death, 

Und  fur  den  Tod  das  Leben  With  entrance  into  Heaven, 

Erworben,  der  die  Siind  und  Tod,  Hath  purchas'd,  who  death,  sin,  and  woe, 

Welt,  Teufel,  H611  und  was  in  Not  World,  devil,  what  our  overthrow 

Uns  stiirzet,  tiberwunden.  Would  seek,  for  aye  hath  vanquish'd. 

19Goedeke  states  in  his  note  to  this  hymn  (p.  171):  "In  Crtiger's  Praxis  ist 
Christ(ian)  Bartholdi 'unterzeichnet,  aber  von  Ebeling  als  Gerhardt's  aufgenommen, 
und  auch  wol  von  ihm  selbst  mitgetheilt.  .  .  ." 


62  PAUL  GERHARDT  AS  A  HYMN  WRITER 

Gott  Vater,  sende  deinen  Geist.— (Goed.  173.) 

Appeared  in  Cru.  Praxis,  1656,  no.  198. 
English  Version: 

Stanza  i.      O  Father!  send  Thy  spirit  down, 
Whom  we  are  bidden  by  Thy  Son 
To  seek,  from  Thy  high  heaven;     .     .     . 

A  complete  translation  by  /.  Kelly,  1867,  p.  78,  a  version  of  very  varying 
excellence.  For  example,  stanza  15  seems  hopelessly  weak  when  compared 
with  the  vigorous  and  simple  German : 

O  selig,  wer  in  dieser  Welt  Oh!    happy  are  the  souls  and  bless'd 

Laszt  diesem  Gaste  Haus  und  Zelt  Who  while  on  earth  permit  this  Guest 

In  seiner  Seel  aufschlagen!  To  make  in  them  His  dwelling; 

Wer  Ihn  aufnimmt  in  dieser  Zeit  Who  now  receive  him  joyfully, 

Den  wird  er  dort  zur  ewgen  Freud  He'll  take  up  to  God's  house  on  high, 

In  Gottes  Hiitte  tragen.  Their  souls  with  rapture  filling. 

On  the  other  hand  in  stanza  5  the  translator  has  coped  very  successfully 
with  the  many  difficulties  of  rhyme  and  metre : 

Und  das  ist  auch  ein  Gnadenwerk  This  is  a  work  of  grace  indeed, 

Und  deines  heilgen  Geistes  Stark ;  The  Holy  Spirit's  strength  we  need, 

In  uns  ist  kein  Vermogen.  Our  pow'r  is  unavailing; 

Wie  bald  wiird  unser  Glaub  und  Treu,  Our  faith  and  our  sincerity 

Herr,  wo  du  uns  nicht  stiindest  bei  Would  soon,  O  Lord !    in  ashes  lie 

Sich  in  die  Aschen  legen !  Were  not  Thy  help  unfailing. 


Was  alle  Weisheit  in  der  Welt.—  (Goed.  176.) 
[Trinity  Sunday.} 

Appeared  in  Cru.  Praxis:    1653.  no.  206,  1656,  no.  212,  in  8  stanzas  of  9  lines;   thence 
in  Wackernagel:   no.  i;   Bachmann:    no.  59;   Berlin  G.  L.  S.:    1863,  no.  50. 

English  Versions: 

1.  Scarce  Tongue  can  speak,  ne'er  human  ken. 

A  translation  in  full,  by  /.  Kelly,  1867,  P-  i. 

2.  The  mystery  hidden  from  the  eyes. 

R.  Massie,  in  his  Lyra  Domestica,  1864,  p.  87. 


Wie  lang,  O  Herr,  wie  lange  soil.— (Goed.  178.) 
Appeared  in  Cru.  Praxis,  1656,  no.  365. 

Translated  by  /.  Kelly,  1867,  P-  235,  in  seven  stanzas  of  seven  lines  each. 
The  rhyme  and  metre  have  been  altered  after  the  first  four  lines  in  each 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY  63 

stanza,  with  the  result  that  the  version  is  one  of  this  translator's  least 
successful  contributions. 

Stanza  i.       How  long,  Lord,  in  forgetfullness 
And  darkness  wilt  Thou  leave  me? 
How  long  will  sorrow  on  me  press 
And  deep  heart-anguish  grieve  me? 
Wilt  Thou  Thy  face,  Lord,  utterly 
Turn  from  me?    wilt  ne'er  look  on  me 
In  grace  and  in  compassion? 


Befiehl  du  deine  Wege.—(Goed.  185.) 
(Cf.  p.  114  ff.) 


O  Jesu  Christ,  mein  schonstes  Licht. —  (Coed.  200.) 
[Love  of  Christ.} 

Cf.  Koch  IV,  402,  VIII,  294.  Included  in  the  5th  ed.,  Berlin,  1653,  an<3  the  Frank- 
furt ed.,  1656,  of  Cru.  Praxis,  in  16  stanzas  of  9  lines;  thence  in  Wackernagel:  no.  45; 
Bachmann:  no.  73;  Unv.  L.  S.:  1851,  no.  771.  This  is  one  of  the  finest  hymns  on 
the  Love  of  Christ.  It  is  founded  on  Prayer  V  of  Class  II  in  Johann  Arndt's  Para- 
dissgdrtlcin,  1612.** 

English  Versions: 

(A.)     Wesley. 

i.     Jesus,  Thy  boundless  love  to  me. 

A  full  and  very  fine  translation  by  J.  Wesley  in  Hymns  and  Sacred  Poems,  1739 
(P.  Works,  1868-72,  vol.  I,  p.  138).  In  the  Wesleyan  Hymn  Book,  1780,  it  was  reduced 
to  9  stanzas. 

Centos  of  the  Wesley  version  are : 

(i.)     O  Love,  how  cheering  is  Thy  ray.     (Stanza  III.) 

Bk.  of  Hymns,  Boston,  U.  S.  A.,  1848. 
(2.)     My  Savior,  Thou  Thy  love  to  me.     (Stanza  V.) 

Moravian  H.  Bk.,  1789. 
(3.)     More  hard  than  marble  is  my  heart.     (Stanza  VI.) 

American  Sabbath  H.  Bk.,  1858. 

(4.)     O  draw  me,  Savior,  after  Thee.     (Stanza  IX.) 

Snepp's  Songs  of  G.  and  G.     Pennsylvania  Luth.  Ch.  Bk.,  1868. 

20  This  hymn  led  Philipp  Friedrich  Hiller  to  think  of  turning  all  of  these  prayers  in 
the  Paradissgartlein  into  hymns.  The  result  was  his  work  entitled  "Arndt's  Paradisz- 
gartlein  ...  in  teutsche  Lieder,"  Niirnberg  (no  date  given).  The  book  is  in  four 
parts  and  contains  301  hymns,  297  being  founded  on  Arndt  and  4  original. 


64  PAUL  GERHARDT  AS  A  HYMN  WRITER 

(5.)     O  draw  me,  Father,  after  Thee.     (Stanza  IX  altered.) 

Bk.  of  Hymns,  Boston,  U.  S.  A.,  1848.     Amer.  Unitarian  H.  Bk.,  1869. 

(6.)     Still  nigh  me,  O  my  Savior  stand. 

This  stanza  is  taken  from  a  hymn  "Peace,  doubting  heart,  my  God's  I  am,"  by 
C.  Wesley.  To  this  is  added  in  Snepp's  Songs  of  G.  and  G.,  stanzas  XII,  XIV,  XVI, 
and  in  J.  L.  Porter's  Collection,  1876,  stanzas  XII,  XV,  XVI,  of  this  translation  of 
J.  Wesley. 

(7.)     Thou  Friend  of  Sinners!  Who  hast  bought. 

This  is  stanzas  V,  IV,  XVI,  rewritten  by  E.  Osier  and  published  in  the  Mitre  H.  Bk., 
1836. 

(B.)     Other  English  versions : 

1.  O  Christ,  my  sweetest  Life  and  Light. 

In  the  Suppl.  to  German  Psal.,  ed.  1765,  p.  29,  and  the  Moravian  H.  Bk.,  1754  (and 
with  slight  change  in  the  ed.  of  1789,  and  1849),  viz  :  In  tne  1746  ed.  in  part  II  there 
appear  as  a  separate  hymn  stanzas  V-VII,  beginning  "Thou  cam'st  in  love  to  my 
relief."  In  the  1789,  and  1849  ed.,  it  begins  "O  Christ,  my  only  Life  and  Light." 

2.  O  Jesus  Christ!    my  fairest  Light. 

J.  Kelly,  1867,  p.  122. 

3.  O  Christ,  my  Light,  my  gracious  Savior. 

In  the  Moravian  H.  Bk.,  1886. 

Selected  Stanzas: 

In  the  Moravian  Hymn  Book,  1754  (author's  name  not  given). 

i.     O  Christ  my  sweetest  Life  and  Light ! 
Whose  loving  Condescension 
Embraces  me  by  day  and  night 
Beyond  my  comprehension: 
Lord !   grant  me  to  return  thy  Love 
With  due  and  true  devotion, 

That  my  notion 
Of  Mercy  may  improve 
With  ev'ry  thought  and  motion. 

J.  Wesley,  1739,  in  the  1754  ed.,  Part  I,  of  the  Moravian  Hymn  Book. 
i.     Jesu,  thy  boundless  Love  to  me 

No  thought  can  reach,  no  tongue  declare: 
O  knit  my  thankful  heart  to  Thee 
And  reign  without  a  rival  there. 
Thine  wholly,  thine  alone  I  am: 
Be  thou  alone  my  constant  Flame. 

J.  Wesley,  1739,  in  Snepp's  Songs  of  Grace  and  Glory,  1872.  It  is  stanza 
2  of  a  hymn  beginning  "Still  nigh  me,  O  my  Savior  stand"  in  Snepp,  and 
Gerhardt's  stanza  XII :  "Was  ists,  o  Schonster,  dasz  ich  nicht  /  In  deiner 
Liebe  habe?"  etc. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY  65 

Stanza  I.      What  in  Thy  love  possess  I  not? 
My  star  by  night,  my  sun  by  day; 
My  spring  of  life,  when  parched  with  drought, 
My  wine  to  cheer,  my  bread  to  stay, 
My  strength,  my  shield,  my  safe  abode, 
My  robe  before  the  throne  of  God ! 


Ich  danke  dir  demiitiglich. — (Goed.  205.) 

Appeared  in  the  Cru.  Praxis,  1656,  no.  318.     From  Johann  Arndt's  Paradissg'drtlein 
(Goslar,  1621,  4),  3,  17,  p.  294,    "Gebet  um  zeitliche  und  ewige  Wolfahrt." 

English  Version: 

Stanza  I.     O  God,  my  Father !    thanks  to  Thee 
I  bring  with  deep  humility, 
That  Thou  Thine  anger  endest, 
And  that  Thy  Son 
Our  Joy  and  Crown 
Into  the  world  Thou  sendest.     .     .     . 

A  complete  translation  by  /.  Kelly,  1867,  p.  117.     In  stanza  14  the  trans- 
lator has,  in  honor  to  Queen  Victoria,  altered  the  original  which  reads: 

Insonderheit  nimm  wol  in  Acht 
Den  Fiirsten    .     .     .     etc. 

to 

Make  Her  Thy  care  especially, 

Whom  Thou  as  monarch  hast  raised  high 

This  land  and  nation  over ;     .     .     .     etc. 


Ach!  treuer  Gott,  barmherzigs  Herz. — (Goed.  209.) 
[Cross  and  Consolation.] 

Founded  on  a  prayer  "for  patience  under  great  trial,"  no.  XXV  in  Class  III  of 
J.  Arndt's21  Paradiszg'drtlein,  1612.  It  appeared  in  Cru.  Praxis,  Frankfurt,  1656,  no. 
391,  in  16  stanzas  of  7  lines,  and  was  included  in  many  subsequent  hymn  books,  as 
recently  as  the  Unv.  L.  S.:  1851,  no.  693;  also  in  Wackernagel:  no.  57;  and  in  Bach- 
mann:  no.  80. 

English  Versions: 

i.     O  God  most  true,  most  merciful! 

A  good  adaptation  in  4  stanzas  by  Rev.  A.  T.  Russell  in  his  Psalms  and  Hymns,  as 
follows : 

Gerhardt  stanza       I     (II  III)     IV    V     (VI  VII  VIII  IX)     X    XI 
Russell  stanza          123  4 

This  version  appears  in  an  altered  form  in  Kennedy,  1863,  no.  665.  "O  God  of  mercy 
full  and  free." 

'n  Cf.  pp.  24  and  63. 

5 


66  PAUL  GERHARDT  AS  A  HYMN  WRITER 

2     O  faithful  God!    O  pitying  heart. 

A  good  translation  in  n  stanzas  by  Miss  Winkworth  in  the  2d  Series,  1858,  of  her 
Lyra  Gcr.,  and  thence  in  the  Gilman-Schaff  Lib.  of  R.  P,  1883,  p.  837.  The  corre- 
spondence  of  stanzas  is  as  follows : 

Gerhardt  stanzas        I II  (HI)  IV  V  VI  VII  VIII  (IX)  X  (XI)  XII  (XIII)  XIV  XV  XVI 
Winkworth  stanzas    12  3    4    5      6       7 

The  translation  of  stanzas  X,  XII,  XIV,  XVI,  beginning  "O  Thou,  who  diedst  to 
give  us  life,"  appear  as  no.  327,  in  Church  Praise,  1883. 

3.    Ah!   faithful  God,  compassionate  heart. 
/.  Kelly,  1867,  P.  169. 

Barmherziger  Vater,  hochster  Gott.—  (Coed.  212.) 
Based  on  Joh.  Arndt's  Crcutsgebet.     It  appeared  in  Cru.  Praxis,  1656,  no.  382. 

English  Version: 

Stanza  i.      Father  of  mercies!    God  most  high, 
Deign  graciously  to  hear  me, 
Thou  say'st,   "Knock  at  my  door  and  cry, 
In  time  of  need  draw  near  to  me. 

As  urgently 
Thou  long'st,  to  thee, 
That  with  thy  mouth, 

In  very  truth, 
Thou  joyfully  may'st  praise  me."    etc. 

/.  Kelly,  1867,  p.  175- 


Ich  weisz,  mein  Gott,  dasz  all  mein  Thun. —  (Gocd.  217.) 
[Supplication.] 

A  prayer  for  success  in  all  Christian  works  and  purpose ;  founded  on  Jeremiah  X, 
23,  and  Acts  V,  38,  39.  Cf.  Koch  IV,  98.  Included  in  Cru.  Praxis,  1653,  no.  321,  1656, 
no.  332,  in  18  stanzas  of  5  lines;  thence  in  Wackernagcl:  no.  40;  Bachmann:  no.  71; 
Berlin,  G.  L.  S.:  1863. 

In  the  Ebeling  edition  the  hymn  has  the  title :  "Um  Gliick  und  Segen 
zu  allem  christlichen  Thun  und  Vorhaben."  It  has  on  many  occasions  been 
given  as  a  farewell  injunction  by  parents  to  their  children  on  leaving  home. 

English  Versions: 

1.  I  know,  my  God,  and  I  rejoice. 

(Stanzas  I-III,  VIII,  XI,  IX)  by  Miss  Winkworth  in  her  Chorale  Book,  1863,  no.  121. 

2.  My  God!   my  works  and  all  I  do. 

J.  Kelly,  1867,  p.  102. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY  67 

Selected  Stanzas: 

Miss  Winkworth  in  her  Chorale  Book,  1863. 

1.  I  know,  my  God,  and  I  rejoice 

That  on  Thy  righteous  will  and  choice 
All  human  works  and  schemes  must  rest : 
Success  and  blessing  are  of  Thee, 
What  Thou  shalt  send  is  surely  best. 

2.  It  stands  not  in  the  power  of  man 
To  bring  to  pass  the  wisest  plan 
So  surely  that  it  cannot  fail ; 

Thy  counsel,  Highest,  must  ensure 
That  our  poor  wisdom  shall  avail. 


Du  bist  ein  Mensch,  das  weiszt  du  wol. —  (Goed.  220.) 
Appeared  in  Cril.  Praxis,  1656,  no.  330. 

A  hymn  of  self-abnegation,  even  self-denunciation,  emphasizing  the  frailty 
and  insignificance  of  mortals,  and  closing  with  an  admonition  of  resignation 
to  God's  wise  dispensations.  Though  Gerhardt  frequently  employs  this 
form  of  rhyme22  only  rarely  does  he  combine  it  with  this  metre.  Both  have 
been  strictly  observed  by  /.  Kelly,  1867,  p.  148: 

Stanza  i.      Thou  art  but  man,  to  thee    'tis  known, 
Why  dost  thou  then  endeavor 
To  do  what  God  should  do  alone, 
Or  can  accomplish  ever? 
A  thousand  griefs  thou  goest  through, 
In  spite  of  all  thy  wit  can  do ; 
Upon  thine  end  thou  pond'rest 
What  it  will  be  thou  wond'rest. 


Ich  habs  verdient.     Was  will  ich  doch. — (Goed.  224.) 
Appeared  in  the  Cru.  Praxis,  1656,  817,  no.  374. 

English  Version: 

Stanza  i.      I  have  deserv'd  it,  cease  t'oppose 
The  Lord's  will,  shall  I  never? 
Thou  bitter  cup,  thou  heavy  cross, 
Come  hither  to  me  ever ! 
From  pain  all  free 
May  never  be 
He  'gainst  the  Lord  who  fighteth, 

22  I.e.  ab  ab  cc  dd.    Cf.  nos.  62,  76,  100,  108,  124,  127,  130,  145,  149,  256,  263,  307,  321. 


68 

As  I  each  day, 
Who  trod  the  way 
Wherein  the  world  delighteth.     .     .     . 

/.  Kelly,  1867,  p.  165. 

This  is  one  of  the  least  adaptable  poems  of  Gerhardt  and  it  is  evident 
that  the  translator  has  struggled  with  the  many  difficulties  of  metre  and 
frequent  rhyme. 

Ich  hab  oft  bei  mir  selbst  gedacht—  (Goed.  226.) 
Appeared  in  Crii.  Praxis,  1656,  no.  331. 

English  Version: 

Stanza  i.     Full  often  as  I  meditate 

Upon  the  world's  disordered  state, 
I  ask  myself  if  earthly  life 
Be  good,  and  worthy  of  the  strife, 
Has  he  not  acted  for  the  best 
Who  laid  himself  betimes  to  rest? 

J.  Kelly,  1867,  p.  143. 

A  free,  but  very  acceptable  rendering  in  which  the  easy  colloquial  style 
of  the  original  has  been  well  retained.  Cf .  lines  7  and  8 : 

"Denn,  Lieber,  denk  und  sage  mir:  "Reflect,  my  friend,  say,  if  you  know 

Was  fur  ein  Stand  ist  wol  allhier."  What  station  is  there  here  below    .         ." 


1st  Gott  fur  mich,  so  trete. — (Goed.  229.) 
(Cf.  p.  126  ff.) 


Auf  den  Nebel  folgt  die  Sonne. —  (Goed.  232.) 
[Thanksgiving  after  great  sorrow  and  affliction.] 

It  appeared  in  Crii.  Praxis,  1653,  no.  236,  and  1656,  no.  249,  in  15  stanzas  of  7  lines ; 
thence  in  Wackernagel:  no.  87;  Bachmann:  no.  64;  Unv.  L.  S.  •  no  402  Cf  Koch 
IV,  545- 

English  Versions: 

1.  Cometh  sunshine  after  rain. 

Miss  Winkworth  in  her  Lyra  Ger.,  ist  Series,  1855,  p.  100  (omitting  stanzas  IV-VII, 
X,  XI).  In  her  1856  ed.  the  translation  of  stanzas  X  and  XI  is  added.  In  the  Chris- 
tian H.  Bk.,  Cincinnati,  1865,  no.  799  begins  with  her  stanza  no.  XIII  "Now  as  long 
as  here  I  roam." 

2.  After  clouds  we  see  the  sun. 

/.  Kelly,  1867,  p.  261. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY  69 

Selected  Stanzas: 

Miss  Winkworth  in  her  Lyra  Ger.,  1855. 

1.  Cometh  sunshine  after  rain, 
After  mourning  joy  again, 
After  heavy  bitter  grief 
Dawneth  surely  sweet  relief ; 

And  my  soul,  who  from  her  height 
Sank  to  realms  of  woe  and  night, 
Wingeth  now  to  heav'n  her  flight. 

2.  He,  whom  this  world  dares  not  face, 
Hath  refreshed  me  with  his  grace, 
And  his  mighty  hand  unbound 
Chains  of  hell,  about  me  wound ; 
Quicker,  stronger,  leaps  my  blood, 
Since  his  mercy,  like  a  flood, 
Poured  o'er  all  my  heart  for  good. 


Soil  ich  meinem  Gott  nicht  singen. —  (Goed.  235.) 
[Thanksgiving.]     Cf.  Koch,  IV,  91  ff. 

One  of  Gerhardt's  finest  hymns,  setting  forth  God's  love  in  His  creation, 
redemption  and  sanctification  of  the  world,  His  care  in  trouble.  It  closes 
with  a  prayer  which  R.  Massie  renders: 

Grant  me  grace,  O  God,  I  pray  Thee, 
That  I  may  with  all  my  might 
Love  and  trust  Thee  and  obey  Thee, 
All  the  day  and  all  the  night ; 
And  when  this  brief  life  is  o'er 
Love  and  praise  Thee  evermore. 

The  hymn  was  included  in  the  5th  ed.,  Berlin,  1653,  and  in  the  Frankfurt  ed.,  1656, 
of  Crti.  Praxis,  no.  230;  thence  in  Wackernagel:  no.  81 ;  Bachmann:  no.  60;  Unv. 
L.  S.:  1851,  no.  722. 

English  Versions: 

1.  Shall  I  not  his  praise  be  singing. 

Dr.  Mills  in  his  Horae  Germanicae,  1845,  p.  141,  and  1856,  p.  195. 

This  is  a  mediocre  version,  as  it  misses  the  characteristic  points  of  the  German. 
His  stanzas  II,  IV-VII  beginning  "As  the  eagle  fondly  hovers,"  were  included  in  the 
Amer.  Luth.  Gen.  Synod's  Collection,  1850-52,  no.  35. 

2.  Shall  I  not  sing  praise  to  Thee. 

A  full  and  good  translation  by  Miss  Winkworth  in  her  Lyra  Ger.,  1st  Series,  1855 ; 
p.  200;  also,  omitting  stanzas  III-VI,  VIII  in  her  C.  B.  for  England,  1863,  no.  10. 
Included  in  full  in  Cantate  Domino,  Boston,  U.  S.  A.,  1859. 


7o  PAUL  GERHARDT  AS  A  HYMN  WRITER 

3.  I  will  sing  my  Maker's  praises. 

A  good  translation  omitting  stanzas  VI,  VIII,  contributed  by  R.  Massie  to  the  1857 
ed.  of  Mercer's  C.  P.  &  H.  Bk.,  no.  185,  reprinted  in  his  own  Lyra  Domestica,  1864. 

4.  Can  I  fail  my  God  to  praise. 

A  translation  of  stanzas  I,  III,  IV,  by  F.  C.  C,  as  no.  218,  in  Dr.  Pagenstecher's 
Collection,  1864. 

5.  Should  I  not,  in  meek  adoring. 

A  translation  of  stanzas  I-III  by  M.  W.  Stryker  in  his  Hymns  &  Verses,  1883,  p.  38, 
and  Christian  Chorals,  1885,  no.  36. 

6.  Can  I  cease,  my  God,  from  singing. 
In  Lyra  Davidica,  1708,  p.  22. 

7.  Shan't  I  sing  to  my  Creator. 

J.  C.  Jacobi,  1732,  p.  153.     Repeated  in  the  Moravian  Hymn  Books,  1754-1886,  in 
some  editions  beginning,   "I  will  sing  to  my  Creator." 

8.  Shall  I  not  my  God  be  praising. 

J.  Kelly,  1867,  p.  240. 

Selected  Stanzas: 

Dr.  Mills  in  his  Horae  Germanicae,  1856. 

i.      Shall  I  not  His  praise  be  singing 
Who  in  glory  reigns  above : — 
Him  my  thanks  and  honors  bringing, 
For  the  blessings  of  his  love? 
Those,  who  with  sincere  endeavor 
Keep  the  way  that  He  has  shown, 
He  will  as  his  children  own, 
Yielding  them  a  father's  favor. 
All  things  else  their  time  will  last 
But  His  love,  when  Time  is  past. 

Miss  Winkworth,  in  her  Chorale  Book  for  England,  1863. 

i.      Shall  I  not  sing  praise  to  Thee, 
Shall  I  not  give  thanks,  O  Lord? 
Since  for  us  in  all  I  see 
How  thou  keepest  watch  and  ward ; 
How  the  truest  tend'rest  love 
Ever  fills  Thy  heart,  my  God, 
Helping,  cheering,  on  their  road 
All  who  in  Thy  service  move. 

M.  W.  Stryker,  1882,  in  his  Christian  Chorals,  1885. 

i.      Should  I  not,  in  meek  adoring, 
Thank  my  gracious  God  above 
Whom  I  see  on  all  things  pouring 
Forth  the  sunshine  of  His  love? 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY  71 

For  'tis  naught  but  Love's  own  loving 
In  his  constant  heart,  doth  care 
Endlessly  to  love  and  bear 
Those  their  love,  in  service  proving. 
All  things  last  their  portioned  day — 
God's  love  to  eternity. 


Geh  aus,  mein  Herz,  und  suche  Freud. — (Goed.  239.) 
(Cf.  p.  131  ff.) 


Also  hat  Gott  die  Welt  geliebt.—  (Goed.  256.) 
[Good  Friday.} 

Founded  on  John  III,  16.     It  appeared  in  Cru.  Praxis,  1661,  no.  372,  in  17  stanzas. 

English  Version: 

i.     Be  of  good  cheer  in  all  your  wants. 

P.  H.  Molther,  of  stanza  16,  as  no.  181  in  the  Moravian  H.  Bk.,  1789  (1886,  no.  217). 


Herr,  aller  Weisheit  Quell  und  Grund. —  (Goed.  260.) 
Appeared  in  Cru.  Praxis,  1661,  576,  no.  373. 

English  Version: 

O  God !    from  Thee  doth  wisdom  flow, 
All  I  can  do  Thou  well  dost  know ; 
If  Thine  own  grace  doth  not  sustain, 
Then  all  my  labor  is  in  vain.     .     .     . 

A  complete  and  very  good  translation  by  /.  Kelly.  The  long  metre  of  8 
syllables  seems  to  lend  itself  more  readily  to  adaptation  into  English.  In 
the  fourth  stanza,  first  line,  Kelly  has  resorted  to  a  device  common  to  trans- 
lators, that  of  making  up  the  extra  accent  where  the  corresponding  English 
cognate  has  lost  the  ending,  by  selecting  instead  of  a  monosyllabic  adverb 
an  adverb  of  two  syllables.  Here,  of  course,  "very"  for  "sehr"  makes 
literality  and  meter  perfect. 

Alein  Leben  ist  sehr  kurz  und  schwach 
My  life  is  very  short  and  weak. 

As  exact  and  appropriate  a  translation  as  is  possible  word  for  word  is 
found  in  stanza  1 1 : 

Ich  lieb  ihr23  liebes  Angesicht,  I  love  her  lovely  face  so  bright. 

Sie  ist  meins  Herzens  Freud  und  Licht;     She  is  my  joy  and  heart's  delight 
Sie  ist  die  schonste,  die  mich  halt  The  fairest  is  that  holdeth  me 

Und  meinen  Augen  wolgefallt.  Mine  eyes  she  pleaseth  wondrously. 

t 

23  i.e.  Weisheit. 


72  PAUL  GERHARDT  AS  A  HYMN  WRITER 

Jesu,  allerliebster  Bruder.— (Goed.  263.) 

Based  on  Johann  Arndt's  Paradiszgartlein,  i,  33,  92.  It  appeared  in  Cru.  Praxis, 
1661,  no.  374. 

English  Version: 

i.     Jesus!    Thou,  my  dearest  Brother, 
Who  dost  well  to  me  intend, 
Thou  mine  Anchor,  Mast,  and  Rudder 
And  my  truest  Bosom-Friend. 
To  Thee,  ere  was  earth  or  heaven, 
Had  the  race  of  man  been  given ; 
Thou,  e'en  me,  poor  guest  of  earth, 
Chosen  hadst  before  my  birth.     .     .     . 

A  complete  translation  by  /.  Kelly,  1867,  p.  112.  The  translator  has  well 
rendered  a  hymn  of  rather  unusual  difficulty  of  interpretation  in  a  foreign 
tongue. 

An  unavoidable  weakening  by  translation  appears  in  the  last  stanza : 

Nun,  Herr  lasz  dirs  wolgefallen,  Gracious  Savior !    let  it  please  Thee, 

Bleib  mein  Freund  bis  in  mein  Grab !  Be  my  Friend  in  every  hour 

Bleib  mein  Freund  und  unter  alien  Be  my  Friend,  till  death  release  me 

Mein  getreuster  starkster  Stab !  Be  my  faithful  Staff  of  pow'r ! 


Geduld  ist  euch  vonnoten. — (Goed.  267.) 
Based  on  Hebrews  X,  35-37-     It  appeared  in  Cru.  Praxis,  1661,  no.  375. 

English  Version: 

i.     'Tis  patience  must  support  you 
When  sorrow,  grief,  or  smart, 
Or  whate'er  else  may  hurt  you 
Doth  rend  your  aching  heart. 
Belov'd  and  chosen  seed ! 
If  not  a  death  will  kill  you, 
Yet  once  again  I  tell  you 
'Tis  patience  that  you  need.     .     .     . 

By  /.  Kelly,  1867,  p.  184.  A  complete  translation  of  the  14  stanzas,  and 
in  general  very  true  to  the  original.  It  is  noteworthy  that  the  first  line  of 
each  stanza  contains  the  word  "patience"  as  does  the  poem  of  Gerhardt 
the  word  "Geduld."  Kelly's  rendering  of  the  last  four  lines  illustrates 
as  well  as  any  the  faithfulness  of  his  version. 

Kommt  dann  der  letzte  Zug,  And  in  my  dying  hour, 

So  gib  durch  deine  Hande  Thy  mercy  still  extending, 

Auch  em  geduldigs  Ende!  Oh!    grant  a  patient  ending 

So  hab  ich  alles  gnug.  Then  need  I  nothing  more 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY  73 

Nun  sei  getrost  und  unbetriibt. — (Goed.  271.) 
Subjoined  to  a  funeral  address  by  Johann  Meiszner. 

This  is  one  of  Gerhardt's  many  "Trostgesange,"  and  though  less  well 
known  than  most  of  his  hymns  is  deserving  of  wider  recognition  than  it  has 
hitherto  received.  As  far  as  is  at  present  known  there  has  been  published 
but  one  English  version,  that  of  /.  Kelly,  1867,  p.  329,  the  first  stanza  of 
which  is  as  follows : 

"JOYFUL  RESIGNATION  TO  A  HAPPY  DEPARTURE  FROM 
THIS  WEARY  WORLD." 

Stanza  i.      Be  glad,  my  heart!    now  fear  no  more, 
Let  nothing  ever  grieve  thee; 
Christ  lives,  who  lov'd  thee  long  before 
Thy  being  He  did  give  thee, 
And  ere  He  made  thy  wondrous  frame ; 
His  love  remaineth  still  the  same, 
It  ne'er  can  change  to  hatred. 

It  is  unfortunate  that  the  translator  has  been  satisfied  with  "glad"  for 
the  forceful  "getrost"  which  connotes  "confidence"  and  "trust"  (to  which 
it  is  indeed  cognate)24  and  even  "comfort  in  that  confidence"  to  the  point 
of  being  "courageous."  More  pardonable  is  his  balking  at  the  character- 
istic alliterative  "Geist  und  Gemiite"  which  must  mean  not  only  the  "feel- 
ings," but  also  "soul"  and  "intellect"  as  well.  If  "heart"  be  accepted 
in  this  broadest  sense  it  is  undoubtedly  the  best  English  equivalent.  The 
psychology  of  language  would  presumably  never  allow  in  poetry  a  literal 
word-for-word  rendering  of  "Gebliite,  Fleisch,  Haut,"  and  the  English 
reader  is  denied  the  poetic  force  of  "ward"25  also  beautifully  illustrated  so 
frequently  in  the  German  Bible.  Again  it  must  be  accounted  a  defect  that 
the  passive  "ward  zugericht"  (i.  5)  is  changed  to  an  active  construction. 
The  German  passive  is  never  used  without  sufficient  reason,  and  Gerhardt 
chooses  here  to  imply  the  divine  mystery  of  birth.  Here  the  English  is  too 
specific.  On  the  other  hand  where  the  German  is  direct,  "Dein  Jesus" 
(i.  3),  "Gebliite,  Fleisch,  Haut,"  (i.  4,  5),  "Der"  (i.  6),  the  English 
descends  to  the  general. 

Stanza  7  preserves  more  of  the   "Stimmung"   of  the  original : 

Thou  Jesus !   O  thou  sweetest  Friend, 
My  light  and  life  art  ever ! 
Thou  holdest  me,  dost  me  defend, 
The  foe  can  move  Thee  never. 

24  Cf.  p.  22. 

25  Und  Fleisch  und  Haut  ward  zugericht ;    line  5. 


74  PAUL  GERHARDT  AS  A  HYMN  WRITER 

In  Thee  I  am,  Thou  art  in  me, 
As  we  are  here,  we'll  ever  be, 
Nought  here  or  there  can  part  us. 

It  is  difficult  to  see,  however,  why   "allerliebster  Freund"    (line  43)  could 
not  have  its  logical  equivalent   "dearest  Friend";-  and  similarly  m  line  48, 
"Und  wie  wir  stehen,"  might  equally  be  "And  as  we  are,     instead  . 
we  are  here,"   which  seems  rather  forced. 

Gib  dich  zufrieden,  und  sei  stille.—  (Gocd.  274.) 

[Cross  and  Consolation.] 
Founded  on  Psalm  XXXVII,  7.     It  appeared  in  Ebeling,  1666,  i,  no.  11,  in  15  stanzas. 

English  Versions: 

1.  Be  thou  content:   be  still  before. 

Miss  W ink-worth,  1855.  P-  156,  and  in  Bishop  Ryle's  Collection,  1860,  no.  269. 

2.  Be  thou  contented!   aye  relying. 

J.  Kelly,  1867,  p.  202. 

3.  Tranquilly  lead  thee,  peace  possessing. 

N.  L.  Frothingham,  1870,  p.  246. 

Selected  Stanza: 

Miss  Winkworth  in  her  Lyra  Germanica,  1855,  p.  156. 

Stanza  i.     Be  thou  content;   be  still  before 

His  face,  at  whose  right  hand  doth  reign 
Fulness  of  joy  forever  more, 
Without  whom  all  thy  toil  is  vain. 
He  is  thy  living  spring,  thy  sun,  whose  rays 
Make  glad  with  life  and  light  thy  dreary  days. 
Be  thou  content. 


Ich  bin  ein  Gast  auf  Erden. —  (Gocd.  284.) 
[Eternal  Life.] 

Based  on  Psalm  XXXIX,  12,  "I  am  a  stranger  with  thee.  and  a  sojourner,  as  all 
my  fathers  were."  Cf.  also  Psalm  CXIX,  "I  am  a  stranger  in  the  earth."  It  was 
first  published  in  Ebeling,  Berlin,  1666;  reprinted  in  Wackernagel:  1843,  no.  112;  and 
Bachmann:  no.  98;  and  included  as  no.  824,  in  the  Unv.  L.  S.:  1851. 

English  Versions:-1 

i.     A  pilgrim  and  a  stranger, 
I  journey  here  below. 

M  Line  43  :    "Thou  Jesus  !    O  Thou  sweetest  Friend." 
•T  For  adaptations  of  this  hymn  cf.  p.  140  ff. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY 


75 


A  good  translation  in  7  stanzas  by  Miss  Jane  Borthwick,  in  H.  L.  L.,  3d  Series,  1858, 
p.  13,  1884,  p.  139,  as  follows : 

Gerhardt:       I    II    III    IV    (V)    VI    VII    VIII    IX    (X)    XI    XII    XIII    XIV 
Borthwick  1123  4  5  6  7 

2.  A  pilgrim  here  I  wander, 
On  earth  have  no  abode. 

A  translation  in  10  stanzas  by  Miss  Winkworth  in  her  Lyra  Ger.,  2d  Series,  1858, 
p.  173,  and  in  her  Chorale  Book,  1863,  no.  148,  altered  by  stanzas  as  follows: 

Gerhardt:        I    II    III    (IV    V    VI    VII)    VIII    IX    X    XI    XII    XIII    XIV 
Winkworth:   123  456789        10 

In  Holy  Song,  1869,  it  begins :    "As  pilgrims  here  we  wander." 

3.  A  rest  here  have  I  never, 
A  guest  on  earth  am  I. 

/.  Kelly,  1867,  p.  316. 

4.  On  earth  I'm  but  a  pilgrim. 

G.  Wade  in  the  U.  P.  Juvenile  Missionary  Magazine,  1859,  p.  252. 

Selected  Stanzas: 


Miss  Winkworth  in  her  Chorale 

Book,  1863. 
Stanza  i. 

A  pilgrim  here  I  wander, 
On  earth  have  no  abode, 
My  fatherland  is  yonder, 
My  home  is  with  my  God, 
For  here  I  journey  to  and  fro, 
There  in  eternal  rest 
Will  God  his  gracious  gift  bestow 
On  all  the  toil-oppress'd. 


Miss  Borthwick  in  her  Hymns  from 

the  Land  of  Luther,  1858,  1884. 
Stanza  i. 

A  Pilgrim  and  a  stranger, 
I  journey  here  below; 
Far  distant  is  my  country, 
The  home  to  which  I  go. 
Here  I  must  toil  and  travel, 
Oft  weary  and  opprest ; 
But  there  my  God  shall  lead  me 
To  everlasting  rest. 


Herr,  du  erforschest  meinen  Sinn. —  (Gocd.  287.) 
Appeared  in  Ebeling,  1666,  2,  no.  23. 

English  Version: 

i.     Lord,  Thou  my  heart  dost  search  and  try. 
/.  Kelly,  1867,  p.  138. 

In  his  last  stanza  Kelly  has  nearly  equalled  the  original  in  happily  choosing 
for  many  of  the  words  the  exact  English  cognate : 


Erforsch,  Herr,  all  mein  Herz  und  Mut 
Sieh,  ob  mein  Weg  sei  recht  und  gut, 
Und  fiihre  mich  bald  himmelan 
Den  ewgen  Weg,  die  Freudenbahn. 


Lord,  search  and  know  my  heart  and  mood, 

See  if  my  way  be  right  and  good, 

The  everlasting  joyful  road 

Lead  me  that  brings  me  home  to  God. 


76  PAUL  GERHARDT  AS  A  HYMN  WRITER 

Was  traurest  du,  mein  Angesicht. — (Goed.  289.) 
Appeared  in  Ebeling,  1666,  2,  24. 

Of  Gerhardt's  hymns  treating  of  Death,  the  Last  Day,  and  Eternal  Life, 
this  is  one  of  the  least  well  known,  and  has  not  been  retained  in  many  Ger- 
man hymn  books,  mainly  because  of  the  mixed  metaphor  and  the  many 
unpoetic  lines.  It  is  translated  in  full  by  /.  Kelly,  1867,  no.  322,  in  stanzas 
of  7  lines,  the  long  fifth  line  with  the  double  rhyme  being  written  as  two 
short  lines, 

Stanza  I.     My  face,  why  should'st  thou  troubled  be 
When  thou  of  death  art  hearing? 
Know  it,  it  cannot  injure  thee, 
Contemplate  it,  ne'er  fearing. 

When  thou  dost  know 

Death,  all  its  woe 
Will  soon  be  disappearing. 

In  stanza  19  Kelly  has  made  the  first  personal  pronoun  predominant  with 
the  result  that  greater  smoothness  is  obtained.  He  has,  however,  been 
obliged  to  omit  what  in  the  German  are  the  best  touches,  namely  the  thoughts 
contained  in  "mein  Hirt,"  "leiten"  and  "immergriin" : 

O  siisze  Lust,  o  edle  Ruh,  O  sweetest  joy,  O  blessed  rest ! 

O  fromme  Seelen  Freude,  To  all  true-hearted  given, 

Komm,  schleusz  mir  meine  Augen  zu,  Come,  let  mine  eyes  by  Thee  be  pressed, 

Dasz  ich  mit  Fried  abscheide  In  peace  take  me  to  heaven. 

Hin,  da  mein  Hirt  mich  leiten  wird  May  I  roam  there 

Zur  immergriinen  Weide.  'Mong  pastures  fair 

Where  day  ne'er  knoweth  even. 


Die  giildne  Sonne. — (Goed.  293.) 
[Morning.] 

First  appeared  in  Ebeling,  1666,  3,  no.  25,  entitled  "Morgensegen" ;  thence  in  Wack- 
ernagel:  no.  98;  Bachmann:  no.  101  ;  Crii.  Praxis:  1672;  Unv.  L.  S.:  1851,  no.  449. 
(The  melody  is  by  Ebeling.  It  is  called  in  the  Irish  Ch.  Hymnal  "Franconia.") 

Lauxmann  in  Koch,  VIII,  185,  calls  this  "A  splendid  hymn  of  our  poet, 
golden  as  the  sun  going  forth  in  his  beauty,  full  of  force  and  blessed  peace 
in  the  Lord,  full  of  sparkling  thoughts  of  God." 

English  Versions: 

i.     The  golden  sunbeams  with  their  joyous  gleams. 

A  translation  by  Miss  Winkworth  in  her  Lyra  Ger.,  1855.  Her  translations  of 
verses  as  follows : 

Gerhardt:        I     II     III     IV     (V    VI    VII)     VIII     IX     (X    XI)     XII 
Winkworth  11234  56  7 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY  77 

Her  version  appears  in  Kennedy,  1863,  no.  814,  with  the  omission  of  the  translation 
of  Gerhardt's  stanzas  II,  VIII,  IX. 

2.  Evening  and  Morning. 

A  good  translation  beginning  with  stanza  IV  ("Abend  und  Morgen")  by  R.  Massie 
in  the  1857  ed.  of  Mercer's  Church  Psalter  and  Hymn  Book.  The  version  has  these 
stanzas : 

Gerhardt:  IV        VIII        IX        X        XI        XII 

R.  Massie:  i  23456 

This  version  in  whole  or  in  part  appears  in  various  hymn  books.  In  Kennedy,  1863, 
no.  636,  it  begins  with  the  translation  of  stanza  IX  ("Gott,  meine  Krone")  "Father, 
O  hear  me."  Massie  subsequently  added  a  translation  of  stanzas  I,  II,  III,  and 
included  it  in  his  Lyra  Domestica,  1864,  p.  106,  and  this  full  form  appears  in  Reid's 
Praise  Bk.,  1872,  no.  379. 

3.  The  sun's  golden  beams. 

Miss  Dunn,  1857,  p.  21. 

4.  Sunbeams  all  golden. 

Miss  Cox,  1864,  p.  13. 

5.  What  is  our  mortal  race. 

(Beginning  with  stanza  VII)  by  E.  Massie,  1866,  p.  87. 

6.  See  the  sun's  glorious  light. 

E.  Massie,  1867,  p.  8. 

7.  The  golden  morning. 

/.  Kelly,  1867,  p.  270. 

Selected  Stanza: 

Miss  Winkworth  in  her  Lyra  Germanica,  1865,  p.  216. 

Stanza  I.      The  golden  sunbeams  with  their  joyous  gleams, 
Are  kindling  o'er  earth,  her  life  and  mirth, 
Shedding  forth  lovely  and  heart-cheering  light ; 
Through  the  dark  hours'  chill  I  lay  silent  and  still, 
But  risen  at  length  to  gladness  and  strength, 
I  gaze  on  the  heavens  all  glowing  and  bright. 


Der  Tag  mit  seinem  Lichte. —  (Goed.  296.) 

Appeared  in  Ebeling,  1666,  3,  26. 
Compare  with  this : 
(a)  The  hymn  of  J.  A.  Freylinghausen  (1704) 

"Der  Tag  ist  hin,  mein  Geist  und  Sinn." 

(This  has  been  translated  by  Miss  Winkworth,  R.  Massie,  Miss  Borthwick 
and  others,  and  has  much  similarity  of  thought  to  Gerhardt's  hymns.) 

also  (b)  "Der  Tag  vergeht,  die  miide  Sonne  sinker."   in  Knapp's  Evang,. 
Liederschatz,  1837. 


78  PAUL  GERHARDT  AS  A  HYMN  WRITER 

English  Version: 

i.     The  daylight  disappeared, 
It  fleeth  and  night  neareth, 
Its  gloom  is  spreading  o'er  us. 
With  slumber  to  o'erpower  us 
And  all  the  wearied  earth.     .     .     etc. 

Stanza  i  of  a  complete  translation  by  /.  Kelly,  1867,  p.  282. 


Ich,  der  ich  oft  in  tiefes  Leid. — (Coed.  298.) 

Based  on  Psalm  CXLV.  First  published  in  Ebeling,  1666,  3,  no.  27,  in  18  stanzas 
of  7  lines;  thence  in  Wackernagcl:  no.  95;  Bachmann:  no.  103;  Berlin  G.  L  S.: 
1863,  no.  1004. 

English  Versions: 

1.  I  who  so  oft  in  deep  distress. 

Miss  Winkworth  in  her  Lyra  Ger.,  2d  Series,  1858,  p.  149.  The  translation  omits 
Gerhardt's  stanzas  II,  III,  IV.  An  alteration  and  adaptation  of  stanzas  VI,  VIII,  IX, 
XI,  beginning  "O  God !  how  many  thankful  songs,"  appeared  as  no.  168  in  Holy  Song, 
1869. 

2.  Who  is  so  full  of  tenderness. 

A  translation  of  stanza  VIII  as  stanza  4  in  the  Moravian  Hymn  Book,  1886,  no.  537. 

Selected  Stanza: 

Miss  Winkworth,  in  her  Lyra  Germanica,  1865. 

i.     I  who  so  oft  in  deep  distress 
And  bitter  grief  must  dwell, 
Will  now  my  God  with  gladness  bless, 
And  all  His  mercies  tell ; 
Oh  hear  me  then,  my  God  and  King, 
While  of  Thy  Holy  Name  I  sing, 
Who  doest  all  things  well. 


Wie  schon  ists  doch,  Herr  Jesu  Christ.—  (Coed.  302.) 
[Marriage.] 

Founded  on  Psalm  CXXVIII.  First  published  in  Ebeling,  1666,  4,  no.  38,  in  8 
stanzas  of  12  lines;  thence  in  Wackernagel:  1843,  no.  108,  1874,  no.  109;  Bachmann: 
no.  105;  Unv.  L.  S.:  1851,  no.  680. 

English  Version: 

i.     Oh  Jesus  Christ!   how  bright  and  fair. 

In  full  by  J.  Kelly,  1867,  p.  307;  repeated  altered,  and  omitting  stanzas  III-V,  in 
the  Ohio  Lutheran  Hymnal,  1880,  no.  339. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY  79 

Voller  Wunder,  voller  Kunst. — (Goed.  304.) 
[Holy  Matrimony.] 

First  published  in  Ebeling,  1666,  4,  no.  40,  in  17  stanzas.     The  hymn  is  often  used  in 
Germany  at  marriages. 

English  Versions: 

1.  Full  of  wonder,  full  of  skill. 

Dr.  H.  Mills,  1845,  1856,  p.  215. 

2.  Full  of  wonder,  full  of  skill. 

Mrs.  Stanley  Carr,  in  her  translation  of  IVildenhahn's  Paul  Gerhardt,  ed.  1856,  p.  52. 

3.  Full  of  wonder,  full  of  art. 

/.  Kelly,  1867,  p.  302. 

4.  Full  of  wonder,  full  of  art. 

Miss  Winkworth  in  her  Lyra  Ger.,  1869,  P-  2I5- 

Selected  Stanza: 

Dr.  H.  Mills  in  his  Horae  Germanicae,  1856. 

i.      Full  of  wonder,  full  of  skill, 
Full  of  wisdom,  full  of  might, 
Full  of  mercy  and  good  will, 
Full  of  comfort  and  delight, — 
Full  of  wonder — once  again — 
Is  of  love  the  marriage  chain. 


Schaut!  Schaut!  was  ist  fur  Wunder  dar? — (Goed.  310.) 
[Christmas.} 

First  published  in  Ebeling,  1667,  5,  55,  in  18  stanzas  of  4  lines ;  thence  in  Wacker- 
nagel:  no.  4;  Bachmann:  no.  109. 

English  Version: 

i.     Behold!   Behold!  what  wonders  here. 

In  full  by  /.  Kelly,  1867,  p.  14.  From  this  12  stanzas  were  included  in  the  Ohio 
Lutheran  Hyl.,  1880,  as  no.  25,  no.  26 :  no.  26  beginning  with  the  translation  of  stanza 
XIII,  "It  is  a  time  of  joy  today." 


Kommt,  und  laszt  uns  Christum  ehren. — (Goed.  312.) 
[Christmas.] 

Founded  on  St.  Luke,  II,  15.  First  published  in  Ebeling,  1667,  5,  no.  56,  in  8  stanzas 
of  4  lines;  thence  In  Wackernagel:  no.  6;  Bachmann:  no.  no;  Unv.  L.  S.:  1851, 
no.  43. 


8o  PAUL  GERHARDT  AS  A  HYMN  WRITER 

English  Versions: 

1.  Come,  unite  in  praise  and  singing. 

(Omitting  stanzas  VI,  VII.)  Contributed  by  Rev.  A.  T.  Russell  to  Maurice's 
Choral  H.  Bk.,  1861,  no.  707- 

2.  Bring  to  Christ  your  best  oblation. 

A  full  and  good  translation  by  R.  Massie  in  his  Lyra  Domestica,  1864,  p.  96;  repeated 
in  Snepp's  Songs  of  Grace  attd  Glory,  and  Reid's  Praise  Bk.,  1872. 

3.  Come  and  let  us  Christ  revere  now. 

Miss  Manington,  1864,  p.  25. 

4.  Come,  and  Christ  the  Lord  be  praising. 

/.  Kelly,  1867,  p.  24. 

Herr  Gott,  du  bist  ja  fur  und  fur.—  (Goed.  315.) 
Based  on  Psalm  XC.     It  appeared  in  Ebeling,  1667,  6,  no.  68. 

English  Version: 

i.     Lord  God !    Thou  art  forevermore 
Thy  people's  habitation, 
And  Thou  existence  hadst  before 
Was  laid  the  earth's  foundation ! 
Ere  yet  the  hills  began  to  be 
Thou  livedst  in  eternity, 
Of  all  things  the  beginning. 

Stanza  I  of  a  complete  translation  by  /.  Kelly,  1867,  p.  312. 

In  this  version  the  translator  has  lost  much  of  the  poetry  and  spirit  not 
only  of  Gerhardt  but  of  the  ninetieth  Psalm  on  which  Gerhardt's  poem  is 
based.  Witness  the  second  and  fourth  lines  above,  where  Kelly  offers  the 
feeble  Latin  derivatives  for  the  virile  "Die  Zuflucht  deiner  Heerde"  and 
"Grund." 


Johannes  sahe  durch  Gesicht. — (Goed.  319.) 

Based  on  Chap.  VII,  9.  ff.  of  Revelations.    It  appeared  in  Ebeling,  1667,  7,  84. 
English  Version: 

i.     By  John  was  seen  a  wondrous  sight, 

A  noble  light, 
A  picture  very  glorious : 
A  multitude  stood  'fore  him  there 
All  bright  and  fair, 
On  heav'nly  plain  victorious ; 
Their  heart  and  mood 
Were  full  of  good, 
That  mortal  man 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY  81 

With  gold  ne'er  can 

Procure,  so  high  'tis  o'er  us.     .     .     . 

Stanza  i  of  a  complete  translation  by  /.  Kelly,  1867,  p.  347. 


Wie  ist  es  miiglich,  hochstes  Licht. — (Goed.  324.) 
Appeared  in  Ebeling,  8,  96. 

The   English   version   by   /.   Kelly,    1867,   p.   259,   is   throughout  more 
moderate  in  tone  and  does  not  reflect  the  utter  self-abnegation  of  Gerhardt.28 

Stanza  i.       How  can  it  be,  my  highest  Light! 
That  as  before  Thy  face  so  bright 
All  things  must  pale  and  vanish, 
That  my  poor  feeble  flesh  and  blood 
Can  summon  a  courageous  mood 
To  meet  Thee,  and  fear  banish? 


Ich  weisz,  dasz  mein  Erloser  lebt. —  (Goed.  331.) 
[Easter.] 

Founded  on  Job.  XIX,  25-27.  First  published  in  Ebeling,  1667,  10,  no.  119,  in  9 
stanzas  of  7  lines;  thence  in  Wackernagel:  1843,  no.  118  (1847,  no.  123)  ;  Bachniann: 
no.  119;  Berlin  G.  L.  S.:  1863,  no.  301. 

English  Versions:2* 

1.  I  know  that  my  Redeemer  lives.     In  this  my  faith  is  fast. 

A  full  and  spirited  translation  by  J.  Oxenford,  in  Lays  of  the  Sanctuary,  1859,  p.  122. 
His  translation  of  stanzas  I,  III,  VII-IX  were  included,  altered  as  no.  779  in  Kennedy, 
1863. 

2.  I  know  that  my  Redeemer  lives,  This  hope, 

Miss  Manington,  1863,  p.  78. 


From  the  foregoing  statements  it  is  evident  that  even  of  Gerhardt's  less 
well-known  hymns  there  has  been  a  comparatively  large  representation  in 
English  and  American  hymnals.  The  ten  hymns  which  follow  are  so 
widely  known  through  the  excellent  versions  of  Miss  Winkworth  and  others, 
that  making  the  treatment  more  detailed,  I  shall  discuss  the  individual  merits 
of  the  different  versions  and  compare  their  relative  values  as  interpretations 
of  the  originals. 

28  This  is  almost  the  only  poem  in  which  Gerhardt  has  not  employed  his  character- 
istic alliteration  or  assonance,  or  introduced   "Friede"   or    "Freude"   words.     On  these 
characteristics  cf.  p.  22  ff. 

29  For  adaptations  "from  this  hymn  cf.  p.  135  ff. 

6 


82  PAUL  GERHARDT  AS  A  HYMN  WRITER 

Wie  soil  ich  dich  empfangen. — (Goed.  25.) 
[Advent.] 

First  published  in  Cru.—Runge,  1653,  no.  77,  in  10  stanzas  of  8  lines;  thence  in 
Wackernagel:  no.  3;  Bachmann:  no.  22;  Unv.  L.  S.:  1851,  no.  21.  Cf.  Koch  IV, 
119  ft. 

The  hymn  is  founded  on  St.  Matthew  XXI,  1-9,  the  Gospel  for  the  first 
Sunday  in  Advent.  It  is  one  of  Gerhardt's  finest  productions,  and  is  prob- 
ably the  best  German  Advent  hymn.  It  is  inferable  from  stanzas  VI-IX 
that  the  poem  was  written  during  the  Thirty  Years'  War.  The  entire  first 
stanza  has  been  set  to  music  by  Bach  in  the  Weihnachtsoratorium,  Part  I. 
English  Versions: 

1.  How  shall  I  meet  my  Savior. 

A  translation  in  full,  by  J.  C.  Jacobi,  in  his  Psalmodia  Germanica,  1722,  p.  3  (1732, 
slightly  altered).  Included  in  the  Moravian  Hymn  Book,  1754,  and  also  in  later  edi- 
tions with  alterations.  Varying  centos  of  this  version  are  found  in  Montgomery's 
Christian  Psalmist,  1825;  Dr.  Pagenstecher's  Collections,  1864;  and  Bishop  Ryle's 
Collection,  1860.  Other  forms  are  : 

(a)  "We  go  to  meet  Thee,  Savior"  (stanza  I  altered),  in  Reid's  Praise  Book,  1872, 
mainly  from  the  Moravian  H.  Bk.,  1801 ; 

(b.)  "Love  caused  Thine  Incarnation"  (stanza  V  altered),  in  Walker's  Collection, 
1855,  and  Snepp's  Songs  of  G.  and  G.,  1872,  from  the  Moravian  H.  Bk.,  1801. 

2.  Oh,  how  shall  I  receive  Thee. 

A  good  translation  of  stanzas  I,  II,  VII,  VIII,  X,  by  A.  T.  Russell  in  his  Ps.  and 
Hys.,  1851,  no.  36.  Repeated  in  Kennedy,  1863,  and  the  People's  H.,  1867;  and 
abridged  in  J.  L.  Porter's  Collection,  1876;  H.  and  Songs  of  Praise,  N.  Y.,  1874; 
Laudes  Domini,  N.  Y.,  1884,  etc. 

3.  Oh!  how  shall  I  receive  Thee. 

In  the  1857  ed.  of  Mercer's  C.  P.  and  H.  Bk.  Stanzas  i,  2,  are  based  on  A.  T.  Rus- 
sell's version  and  stanzas  3,  4,  5  (Gerhardt's  IV,  V,  VI),  are  based  on  Jacobi,  as  altered 
in  the  Moravian  H.  Bk.,  1801.  Altered  forms  have  appeared  in  other  hymnals. 

4.  Ah!    Lord,  how  shall  I  meet  thee. 

A  translation  of  stanzas  I,  II,  V,  VI,  VIII,  X,  by  Miss  Winkworth,  in  her  C.  B.  for 
England,  1863,  no.  71. 

5.  Say  with  what  salutations. 

In  full  by  /.  Kelly,  1867,  p.  10;   repeated,  abridged,  in  the  Ohio  Luth.  Hyl,  1880. 

6.  Lord,  how  shall  I  be  meeting. 

J.  W.  Alexander,  in  Schaff's  Kirchenfreund,  1850,  p.  176,  and  his  Christ  in  Song, 
1869,  P-  20,  and  his  own  Breaking  Crucible,  1861,  p.  11. 

7.  How  shall  I  meet  Thee?     How  my  heart. 

Miss  Winkworth,  1855,  p.  7. 

8.  How  shall  I  come  to  meet  Thee. 

Miss  Manington,  1863,  P-  65. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY  83 

9.     Lord,  how  shall  I  receive  Thee. 

R.  Massie,  1864,  p.  93. 

The  first  hymn  in  the  Psalmodia  Germanica50  of  Jacob!  (1722)  is  a 
translation  of  Luther's  "Nun  kommt  der  Heiden  Heiland"  ("Now  the 
Savior  comes  indeed").  The  second  place  in  the  book  is  given  to  Gerhardt's 
"Wie  soil  ich  dich  empfangen"  which  is  translated  as  "How  shall  I  meet 
my  Savior."  In  a  rather  quaint  preface  Jacobi  writes : 

"The  present  Specimen  hopes  for  a  charitable  Allowance  from  those, 
that  may  happen  to  use  it.  A  Version  of  this  Kind  lies  under  various  Dis- 
advantages, known  only  to  those,  who  in  any  degree  are  acquainted  with 
any  Poetical  Translations  of  this  Kind.  A  great  Deal  is  lost  of  the  Life 
and  Spirit  of  an  Hymn,  when  it  appears  in  another  Language." 

In  this  effort  as  well  as  in  the  case  of  "Befiehl  du  deine  Wege"  Jacobi 
has  left  out  so  much,  and  incorporated  so  many  ideas  of  his  own  which  are 
at  variance  with  Gerhardt's  theme  that  it  is  difficult  to  recognize  its  kinship 
with  the  original.  The  effect  Gerhardt  produces  in  the  first  line  by  the  use 
of  the  direct  form  of  address  is  entirely  lost  by  Jacobi ;  also  the  translator 
creates  an  unpleasant  impression  by  abruptly  changing  from  the  third  person 
in  the  opening  line  to  the  second  person  in  the  next  line. 

Bishop  Ryle  has  altered  the  last  quatrain  to  this  form : 

I  wait  for  Thy  salvation ; 
Grant  me  Thy  Spirit's  light, 
Thus  will  my  preparation 
Be  pleasing  in  Thy  sight. 

Again,  the  diction  of  stanza  two  is  particularly  strange,  at  least  to  modern 

readers. 

I'll  raise  with  all  my  Powers 
More  Notes  than  Unison, 

would  be  quite  bewildering  if  we  did  not  have  at  hand  the  German  which 
is  so  forceful  in  its  very  simplicity : 

Mein  Herze  soil  dir  griinen 
In  stetem  Lob  und  Preis. 

It  is  plain  that  Jacobi  had  not  much  appreciation  of  the  spirit  of  Gerhardt, 
for  the  distinctive  touches  of  alliteration,  repetition  for  emphasis,  the  pre- 
vailing note  of  joy  and  peace  accompanying  the  Savior's  advent  are  cer- 
tainly not  adequately  reproduced.  In  fact  the  impression  he  leaves  is  almost 
one  of  gloom ! 

Contrast  with  this  the  translation  by  A.  T.  Russell,  a  cento  of  which 
(stanzas  i,  2,  7,  8,  10)  is  given  in  most  American  hymnals.  Far  more  cheer- 

80  Cf.  p.  96  and  note. 


84  PAUL  GERHARDT  AS  A  HYMN  WRITER 

f ul  and  more  appropriate  for  the  Advent  season  than  anything  in  Jacobi  are 

such  lines  as : 

My  heart  to  praise  awaking, 

Her  anthem  shall  prepare,  (stanza  2) 

and 

That  in  the  light  eternal  our 

Joyous  home  may  be.  (stanza  5) 

It  is  apt  renderings  like  these  that  have  won  for  Gerhardt  a  place  in  English 
hymnody. 

Kelly's  rendering   (1867)    is  characteristically  accurate,  but,   excepting 

such  lines  as : 

My  heart  shall  blossom  ever 
O'erflow  with  praises  new  (stanza  2) 

and 

O  come  Thou  Sun  and  lead  us 

To  everlasting  light,  (stanza  10) 

it  is  uninspired  and  lacking  in  fervor. 

Of  the  20  hymns  of  Gerhardt  which  Miss  Winkworth  translated  there  are 
three  for  which  she  has  made  two  renderings :  "O  Haupt  voll  Blut  und 
Wunden,"  "Nun  ruhen  alle  Walder,"  and  for  this  Advent  hymn.  The 
earlier  version  (1855)  of  the  Advent  hymn  omits  only  the  third  stanza 
("Was  hast  du  unterlassen").  The  later  one  (1863)  is  written  in  the 
original  metre  for  church  use  to  be  sung  to  the  traditional  melody  "Wie  soil 
ich  dich  empfangen"  by  Johann  Criiger31  (1653)  and  contains  but  six 
stanzas.  As  Miss  Winkworth  was  so  thoroughly  at  home  in  the  German 
she  was  able  to  reproduce  a  surprising  number  of  details.  Even  the  allitera- 
tion and  repetition  for  emphasis  of  which  Gerhardt  is  so  fond  find  in  her 
poem  at  least  a  partially  corresponding  place: 

In  heavy  bonds  I  languished  long  (1855,  stanza  3,  i) 
This  weary  world  and  all  her  woe  (1855,  stanza  4,  5) 
And  labor  longer  thus  (1855,  stanza  6,  2) 

The  original  has  been  characterized  as  the  best  German  Advent  hymn  and 
Miss  Winkworth  has  transfused  it  in  her  earlier  version  undiminished  into 
her  own  language  so  that  it  reads  like  an  original  poem.  Her  final  quatrain 
is  worthy  of  Gerhardt : 

O  Sun  of  Righteousness  !   arise, 
And  guide  us  on  our  way 
To  yon  fair  mansion  in  the  skies 
Of  joyous  cloudless  day. 

n  Cf.  p.  2  f. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY  85 

Selected  Stanzas: 

J.  C.  Jacobi,  1722,  in  Psalmodia  Germanica. 

To  the  Tune  :   "COMMIT  THY  WAYS  AND  GOINGS."32 

I. 

How  shall  I  meet  my  Savior? 
How  shall  I  welcome  Thee? 
What  manner  of  Behavior 
Is  now  requir'd  of  me? 
Lord,  thine  Illumination 
Set  Heart  and  Hands  aright, 
That  this  my  Preparation 
Be  pleasing  in  thy  Sight. 

A.  T.  Russell,  1851,  in  his  Psalms  and  Hymns.33 

1.  O  how  shall  I  receive  Thee,  How  meet  Thee  on  Thy  way; 
Blest  hope  of  every  nation,  My  soul's  delight  and  stay? 

*(Jesu)*(Jesu)  (*Thy) 

O  Jesus,  Jesus,  give  me  Now  by  thine  own  pure  light, 
To  know  whate'er  is  pleasing  And  welcome  in  Thy  sight. 

(*Sion)  (*and) 

2.  Thy  Zion  palms  is  strewing,  With  branches  fresh  and  fair  ; 
(*My  heart  to  praise) 

My  soul  in  praise  awaking,  Her  anthem  shall  prepare. 

Perpetual  thanks  and  praises  Forth  from  my  heart  shall  spring. 


And  to  Thy  Name  the  service  Of  all  my  powers  I  bring. 
(*3.)     (Omitted.) 

(*4.)  3.     Ye  who  with  guilty  terror  Are  trembling,  fear  no  more: 
With  love  and  grace  the  Savior  Shall  you  to  hope  restore. 

(*shall) 

He  comes,  who  contrite  sinners  Will  with  the  children  place, 
The  children  of  His  Father,  The  heirs  of  life  and  grace. 

(*5.)    Omitted. 


Miss  Winkworth,  1855,  in  her  Lyra  Germanica. 

Stanza  i.       How  shall  I  meet  Thee?     How  my  heart 
Receive  her  Lord  aright? 
Desire  of  all  the  earth  Thou  art! 
My  hope,  my  sole  delight ! 
Kindle  the  lamp,  Thou  Lord,  alone, 
Half-dying  in  my  breast, 

32  Cf.  p.  116. 

33  An  asterisk  placed  before  the  word  indicates  the  form  in  the  original.     This 
altered  cento  of  three  stanzas  is  the  one  usually  given  in  American  hymn  books. 


86  PAUL  GERHARDT  AS  A  HYMN  WRITER 

And  make  Thy  gracious  pleasure  known 
How  I  may  greet  Thee  best. 

Miss  Winkworth,  1863,  in  her  Chorale  Book. 

Stanza  i.      Ah !   Lord,  how  shall  I  meet  Thee, 
How  welcome  Thee  aright? 
All  nations  long  to  greet  Thee 
My  hope,  my  sole  delight ! 
Brighten  the  lamp  that  burneth 
But  dimly  in  my  breast, 
And  teach  my  soul,  that  yearneth 
To  honour  such  high  guest. 


O  Haupt  voll  Blut  und  Wunden. —  (Goed.  49.) 
[Passiontide.] 

A  beautiful  but  very  free  translation  of  the  "Salve  Caput  Cruentatum," 
which  is  part  VII  of  the  "Rhythmica  Oratio,"  1153,  ascribed  to  St.  Bernard 
of  Clairvaux.34  The  Latin  original  follows : 

DE  PASSIONE  DOMINI :   AD  FACIEM. 

1.  Salve,  caput  cruentatum, 
Totum  spinis  coronatum, 
Conquassatum,  vulneratum, 
Arundine  sic  verberatum 
Facie  sputis  illita 

Salve,  cuius  dulcis  vultus, 
Immutatus  et  incultus 
Immutavit  suum  florem 
Totus  versus  in  pallorem 
Quern  coeli  tremit  curia. 

2.  Omnis  vigor  atque  viror 
Hinc  recessit,  non  admiror, 
Mors  apparet  in  aspectu, 
Totus  pendens  in  defectu, 
Attritus  aegra  macie. 

Sic  affectus,  sic  despectus 
Propter  me  sic  interfectus, 
Peccatori  tarn  indigno 
Cum  amoris  intersigno 
Appare  clara  facie. 


3.     In  hac  tua  passione 

Me  agnosce,  pastor  bone, 
Cuius  sumpsi  mel  ex  ore, 


*4  Cf.  p.  40  and  note. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY  87 

Haustum  lactis  ex  dulcore 
Prae  omnibus  deliciis, 
Non  me  reum  asperneris, 
Nee  indignum  dedigneris 
Morte  tibi  iam  vicina 
Tuum  caput  hie  acclina, 
In  meis  pausa  brachiis. 

4.  Tuae  sanctae  passioni 
Me  gauderem  interponi, 
In  hac  cruce  tecum  mori 
Praesta  crucis  amatori, 

Sub  cruce  tua  moriar. 
Morti  tuae  iam  amarae 
Grates  ago,  Jesu  care, 
Qui  es  clemens,  pie  Deus, 
Fac  quod  petit  tuus  reus, 
Ut  absque  te  non  finiar. 

5.  Dum  me  mori  est  necesse, 
Noli  mihi  tune  deesse; 

In  tremenda  mortis  hora 
Veni,  Jesu,  absque  mora, 

Tuere  me  et  libera. 
Quum  me  jubes  emigrare, 
Jesu  care,  tune  appare; 
O  amator  amplectende, 
Temet  ipsum  tune  ostende 
In  cruce  salutifera. 


Gerhardt's  version  appeared  in  the  1656  ed.  of  Cru.  Praxis,  no.  156,  in  10  stanzas 
of  8  lines;  thence  in  Wackernagel:  no.  22;  Bachmann:  no.  54;  Unv.  L.  S.:  1851, 
no.  109.  Cf.  Koch,  IV,  163 ;  VIII,  47. 

In  Koch  VIII,  47,  Lauxmann  thus  characterizes  it : 

"Bernard's  original  is  powerful  and  searching,  but  Gerhardt's  hymn  is 
still  more  powerful  and  profound,  as  redrawn  from  the  deeper  spring  of 
evangelical  Lutheran,  Scriptural,  knowledge,  and  fervency  of  faith." 

Stanza  X  Lauxmann  traces  not  only  to  Bernard  but  to  stanza  II  of  "Valet 
will  ich  dir  geben"  of  Herberger,  and  to  Luther's  words  on  the  death  of  his 
daughter  Magdalen  "Who  thus  dies,  dies  well." 

The  melody  to  which  the  hymn  is  sung,  usually  called  "Passion  Chorale," 
first  appeared  in  Hans  Leo  Hassler's  "Lustgarten,"  Niirnberg,  1601,  set 
to  a  love  song,  beginning  "Mein  G'muth  ist  mir  verwirret." 

The  hymn  has  often  been  signally  blessed.  The  story  is  told  that  a  Roman 
Catholic  from  Bohemia  on  hearing  this  hymn  sung  in  a  Protestant  church 
was  so  overpowered  that  he  shed  tears  of  joy,  for  he  saw  clearer  than  ever 


88  PAUL  GERHARDT  AS  A  HYMN  WRITER 

his  own  sin  and  the  Savior's  grace;  he  understood  better  than  ever  the 
secret  of  justification  by  faith  alone,  and  he  became  from  that  time  a  true 
evangelical  Christian.  Frederick  William  I.,  King  of  Prussia  from  1713 
to  1740,  the  father  of  Frederick  the  Great,  ordered  in  his  will  that  at  his 
funeral  this  hymn  should  be  played  by  the  band.35 

The  English  versions  are  many,  and  of  some  of  the  versions  there  are 
several  centos: 

1.  O  Head  so  full  of  bruises. 

In  full,  by  J.  Gambold,  in  Some  other  Hymns  and  Poems,  London,  1752,  p.  12. 
Repeated'in  the  Moravian  H.  Book,  1754,  pt-  i,  no.  222  (1789  greatly  altered).  In  the 
1789  ed.  a  new  translation  of  stanza  IX  was  substituted  for  Gambold's  version,  his 
translation  of  stanza  IX  "When  I  shall  gain  permission"  being  given  as  a  separate 
hymn. 

Centos  of  the  above  version  are : 

a.  "O  Head,  so  pierced  and  wounded"   in  Dr.  Pagenstecher's  Collection,  1864. 

b.  "O  Christ!  what  consolation"  in  the  Amer.  Bapt.  H.  Bk.,  1871. 

c.  "I  yield  Thee  thanks  unfeigned"   (based  on  Gambold's  version  of  stanza  IX) 

in  E.  Bickersteth's  Christian  Psalmody,  1833. 

d.  "I  give  Thee  thanks  unfeigned"   in  Bishop  Kyle's  Collection,  1860. 

2.  O  Sacred  Head!   now  wounded. 

A  very  beautiful  translation  by  Dr.  J.  W.  Alexander.  His  translations  of  stanzas 
I,  II,  IV,  VII-X,  were  first  published  in  the  Christian  Lyre,  N.  Y.,  1830,  no.  136.  These 
stanzas  were  revised,  and  translations  of  stanzas  III,  VI,  were  added  by  Dr.  Alexander 
for  Schaff's  Deutscher  Kirchenfreund,  1849,  p.  91.  The  full  text  is  in  Dr.  Alexander's 
Breaking  Crucible,  N.  Y.,  1861,  p.  7 ;  in  Schaff's  Christ  in  Song,  1869;  and  the  Can- 
tate  Domino,  Boston,  U.  S.  A.,  1859.  1°  his  note  Dr.  Schaff  says : 

"This  classical  hymn  has  shown  an  imperishable  vitality  in  passing  from 
the  Latin  into  the  German,  and  from  the  German  into  the  English,  and 
proclaiming  in  three  tongues,  and  in  the  name  of  three  Confessions — the 
Catholic,  the  Lutheran,  and  the  Reformed — with  equal  effect,  the  dying 
love  of  our  Savior  and  our  boundless  indebtedness  to  Him." 

Dr.  Alexander's  version  has  passed  into  very  many  English  and  Amer- 
ican hymnals,  and  in  very  varying  centos,  some  of  which  follow : 

a.  "O  sacred  Head,  now  wounded,"   People's  H.,  1867;   Hymnary,  1872;    Hatfield's 

Church  H.  Bk.,  1872 ;  Hymns  and  Songs  of  Praise,  N.  Y.,  1874,  etc. 

b.  "O  Sacred  Head!   once  wounded"  (stanza  I  altered),  Bapt.  Ps.  and  Hys.,  1858, 

etc. 

c.  "O  Sacred  Head,  sore  wounded"  (stanza  I  altered),  in  the  Stoke  H\mn  Book, 

1878. 

d.  "O  Sacred  Head,  so  wounded"   (stanza  I  altered),  in  J.  L.  Porter's  Collection, 

1876. 

"For  other  incidents  connected  with  this  hymn  cf.  Th.  Kiibler :  Historical  notes 
to  the  Lyra  Germanica,  London,  1865. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY  89 

e.  "O  blessed  Christ,  once  wounded"  (stanza  I  altered),  in  Dr.  Thomas's  Augustine 

H.  Book,  1866. 

f.  "O  Lamb  of  God,  once  wounded"   (stanza  I  altered),  in  Scottish  Presb.  HyL, 

1876. 

g.  "O  Lamb  of  God,  sore  wounded"  (stanza  I  altered),  in  the  Ibrox  Hymnal,  1871. 

3.  Ah!   Head,  so  pierced  and  wounded. 

A  good  translation  by  R.  Massie,  omitting  stanza  VI,  in  his  Lyra  Domestica,  1864, 
p.  114.  This  version  was  abridged  in  Mercer's  Oxford  edition,  1864,  and  in  Kennedy, 
1863.  A  cento  of  this  beginning  with  stanza  VIII,  line  5,  "Oh !  that  Thy  cross  may 
ever,"  appears  in  J.  H.  Wilson's  Series  of  Praise,  1865. 

4.  Ah  wounded  Head,  that  bearest. 

Miss  Winkworth,  omitting  stanza  VI,  in  her  C.  B.  for  England,  1863,  no.  51. 

5.  Oh!    bleeding  head,  and  wounded. 

/.  Kelly,  1867,  p.  59. 

6.  Ah  wounded  Head!   must  Thou. 

Miss  Winkworth  in  her  Lyra  Ger.,  1855,  p.  80. 

7.  Thou  pierced  and  wounded  brow. 

Miss  Dunn,  1857,  p.  39. 

8.  O  Head,  blood-stained  and  wounded. 

In  the  Schaff-Gilman  Lib.  of  Religious  Poetry,  translated  by  Samuel  M.  Jackson, 
1873,  1880.  This  version  is  among  those  that  adhere  most  closely  to  the  original,  at 
the  same  time  showing  traces  of  the  Latin  of  Bernard. 

9.  O  sacred  Head,  surrounded 
By  crown  of  piercing  thorn! 

A  translation  in  3  stanzas  by  Sir  H.  W.  Baker  of  stanzas  I,  III,  VII,  and  X,  in  the 
Schaff-Gilman  Lib.  of  Religious  Poetry. 

10.  Oh,  wounded  head  and  bleeding. 

A  good  translation  omitting  stanzas  II,  III,  V,  IX,  by  Miss  Margarete  Miinsterberg 
in  her  Harvest  of  German  Verse,  1916. 

The  earliest  known  English  translation  of  Gerhardt's  Passiontide  hymn 
is  that  of  J.  Gambold,  published  in  I752.36  It  is  written  in  his  characteristic 
vein.  Gambold  has  made  no  effort  to  do  more  than  reproduce  in  doggerel 
the  main  ideas  of  the  original  without  even  attempting  to  gloss  over  the 
indelicate  expressions  which  Gerhardt  introduced  from  the  Latin  of  Ber- 
nard. The  "facie  sputis  illita"  which  in  Gerhardt  is  modified  to  "Wie 
bist  du  so  bespeit"  (line  12)  is  given  by  Gambold  with  extreme  literalness. 
His  style  becomes  often  ridiculous  if  indeed  not  wholly  flippant  when  he 
attempts  to  imitate  Gerhardt's  familiarity37  in  addressing  the  Savior. 

38  Cf.  p.  92. 
37  Cf.  p.  18. 


9o  PAUL  GERHARDT  AS  A  HYMN  WRITER 

Witness  the  first  quatrain  of  stanza  7 : 

It  gives  me  solid  pleasure 
My  heart  does  not  recoil 
When  I  dive  in  some  measure 
Into  thy  Pangs  and  Toil.88 

It  is  easy  to  understand  why  this  hymn  should  be  printed  in  full  in  the 
crude  Moravian  Hymn  Book  of  1754  and  even  in  later  editions,  but  it  is  also 
obvious  that  more  recent  hymnals  should  have  made  drastic  alterations  and 
judicious  omissions.  Of  the  centos  adapted  from  Gambold's  unpolished 
verses,  that  in  Reid's  Praise  Book  (1872)  will  show  how  changes  were  made 
to  suit  the  more  refined  taste  of  the  century  following  the  early  Moravian 
period.  The  quatrain  cited  above  appears  in  Reid  as  follows : 

And  oh !    what  consolation 

Doth  in  our  hearts  take  place, 

When  we  Thy  toil  and  passion 

Can  joyfully  retrace. 

An  English  writer  who  faithfully  transplanted  Germany's  best  hymns  and 
made  them  bloom  with  fresh  beauty  in  their  new  gardens  was  Catherine 
Winkworth.  Her  two  renderings  of  this  hymn  are  well  adapted  to  awaken 
responsive  feelings  in  Christian  readers.  It  would  be  difficult  to  judge 
between  the  two  versions  as  to  which  the  more  successfully  retains  the  force 
of  the  German.  In  both  versions  she  has  omitted  stanza  VI  beginning  "Ich 
will  hie  bei  dir  stehen."  The  earlier  one  (1855)  does  not  preserve  the  metre 
of  the  original,  while  the  later  one  (1863)  was  written  for  her  Chorale  Book 
with  the  accompanying  melody.  In  general  it  may  be  said  that  the  earlier 
version  with  the  expanded  third  and  seventh  lines  follows  more  closely  the 
fervent  thought  of  Gerhardt,  an  effect  made  possible  in  the  longer  stanza, 
as  the  English  can  rarely  be  expressed  as  concisely  as  the  German.  A  com- 
parison of  the  first  quatrains  of  the  two  versions  of  the  final  stanza  illus- 
trates this : 

1855-  1863. 

(Version  for  church  singing.) 

Come  to  me  ere  I  die,  Appear  then,  my  Defender, 

My  comfort  and  my  shield;  My  Comfort,  ere  I  die 

Then  gazing  on  Thy  cross  can  I  This  life  I  can  surrender 

Calmly  my  spirit  yield.  If  I  but  see  Thee  nigh. 

Of  the  twenty  or  more  forms  in  which  this  hymn  is  familiar  to  English 
and  American  readers  that  of  Dr.  Alexander  has  found  most  general 

"  Cf .  lines  49-52 :  Es  dient  zu  meiner  Freuden 

Und  kommt  mir  herzlich  wol, 
Wann  ich  in  deinem  Leiden, 
Mein  Heil,  mich  finden  soil. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY  91 

acceptance  for  church  use.  The  reason  is  not  far  to  seek.  The  music  to 
which  the  hymn  is  usually  sung  is  the  original  melody  for  the  hymn  "Herz- 
lich  tut  mich  verlangen"39  and  was,  as  has  been  stated,  written  for  a  secular 
song,  though  thoroughly  suitable  for  the  expression  of  the  awfulness  of 
Christ's  passion.  Alexander's  version  is  without  question  the  one  which 
best  suits  the  cadence  of  this  melody.  In  the  version,  for  example,  of 
Jackson,  the  stress  would  fall  upon  "tortured"40  in  line  2  and,  as  the  music 
repeats  for  the  third  and  fourth  lines,  also  on  "a"  in  line  4.  This,  then,  would 
not  be  selected  as  a  satisfactory  version  for  church  singing.  Aside  from 
this  feature,  however,  the  flow  of  Gerhardt's  language  is  more  successfully 
imitated  and  the  deep  fervor  of  the  German  more  effectively  brought  forth 
in  Alexander's  hymn  than  in  any  of  the  other  translations  unless  we  except 
the  earlier  one  of  Miss  Winkworth. 

While  Gerhardt's  hymn  is  more  searching  and  profound  than  its  Latin 
prototype,  and  an  English  translator  would  not  ordinarily  refer  to  the 
original  of  Bernard,  still  there  seem  to  be  in  the  phraseology  of  the  Jackson 
and  Winkworth  translations  evidences  that  these  authors  were  at  least 
familiar  with  it.  Such  lines  as  "Death  triumphs  in  his  pallour"41  and  "The 
pallor  of  the  dead"42  are  quite  suggestive  of  the  Latin:  "Totus  versus  in 
pallorem"  ;43  and  "Redeemer  spurn  me  not"44  of  the  Latin  "Non  me  reum 
asperneris."45 

A  short  paraphrase  by  Sir  H.  W.  Baker  contains  several  ideas  taken  from 
the  Latin  which  Gerhardt  has  omitted.  Stanza  i,  lines  7,  8: 

Yet  angel  hosts  adore  thee 
And  tremble  as  they  gaze 

are  evidently  suggested  by : 

Totus  versus  in  pallorem 

Quern  coeli  tremit  curia,  (lines  9,  10) 

and 

O  Love  to  sinners  free ! 
Jesu  all  grace  supplying, 
Oh  turn  thy  face  to  me.  (stanza  2) 

follows  the  idea  in 

Peccatori  tarn  indigno 
Cum  amoris  intersigno 
Appare  clara  facie,  (lines  18-20) 

89  By  Cristoph  Knoll,  1563-1650.     Cf.  p.  87. 

40  Cf.  p.  94- 

41  Stanza  3,  line  7,  Winkworth,  1863. 

42  Stanza  3,  line  4,  Jackson,  1873. 

43  Line  9,  Bernard,  p.  86. 

44  Stanza  4,  line  8,  Winkworth,  1863. 

45  Line  26,  Bernard,  p.  87. 


92  PAUL  GERHARDT  AS  A  HYMN  WRITER 

The  same  is  true  in  the  first  quatrain  of  Baker's  stanza  3,  with  the  idea 
of  the  word  "indigno"  above  brought  into  these  later  lines : 

In  this  thy  bitter  passion, 
Good  Shepherd,  think  of  me, 
With  thy  most  sweet  compassion, 
Unworthy  though  I  be.46 

In  1860  Bishop  Ryle  selected  and  arranged  Three  hundred  and  sixty-six 
Hymns  and  Spiritual  Songs — a  song  for  every  day  in  the  year.  His  i66th 
poem  is  a  cento  of  this  Passiontide  hymn  and  is  assuredly  deserving  of  men- 
tion, although  he  omits  the  first  four  stanzas  entirely,  and  for  no  apparent 
reason  changes  the  order  of  the  others,  arranging  them  as  follows : 

Ryle:  i  23456 

Gerhardt:         VIII        VI        VII        V        IX        X. 

His  first  quatrain  of  Gerhardt's  stanza  VII  is  almost  identical  with  that 
given  in  Reid's  Praise  Book  as  an  alteration  of  the  old  Gambold  version. 

What  heavenly  consolation 
Doth  in  my  heart  take  place, 
When  I  Thy  toil  and  passion 
Can  in  some  measure  trace. 

Selected  Stanzas: 
J.  Gambold,  1752,  in  Some  other  Hymns  and  Poems. 

1.  O  Head  so  full  of  bruises, 
So  full  of  pain  and  scorn, 
'Midst  other  sore  Abuses 
Mock'd  with  a  crown  of  Thorn! 
O  head,  e'er  now  surrounded 
With  brightest  Majesty, 

Now  pitiably  wounded ! 
Accept  a  kiss  from  me. 

2.  Thou  Countenance  transcendent, 
At  other  times  rever'd 

By  Worlds  on  thee  dependent 
With  Spittle  now  besmeared! 
etc. 

J.  W.  Alexander,  1849,  in  the  Schaff-Gilman  Lib.  of  Religious  Poetry. 

i.     O  Sacred  Head,  now  wounded. 
With  grief  and  shame  bow'd  down, 
Now  scornfully  surrounded, 

44  In  hac  tua  passione 
Me  agnosce,  pastor  bone.    Lines  21,  22. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY  93 

With  thorns,  Thy  only  crown. 

0  Sacred  Head,  what  glory 
What  bliss  till  now  was  Thine 
Yet,  though  despised  and  gory, 

1  joy  to  call  Thee  mine. 

2.  What  Thou,  my  Lord,  hast  suffered, 
(Gerh.  IV.)     Was  all  for  sinner's  gain: 

Mine,  mine  was  the  transgression 
But  Thine  the  deadly  pain. 
Lo,  here  I  fall,  my  Savior : 
'Tis  I  deserve  Thy  place; 
Look  on  me  with  Thy  favour, 
Vouchsafe  to  me  Thy  grace. 

3.  The  joy  can  ne'er  be  spoken, 
(Gerh.  VII.)     Above  all  joys  beside, 

When  in  Thy  body  broken 
I  thus  with  safety  hide. 
Lord  of  my  life  desiring 
Thy  glory  now  to  see, 
Beside  Thy  cross  expiring 
I'd  breathe  my  soul  to  Thee. 

4.  What  language  shall  I  borrow 
(Gerh.  VIII.)      To  thank  Thee,  dearest  Friend, 

For  this,  Thy  dying  sorrow, 
Thy  pity  without  end? 
O  make  me  Thine  for  ever ; 
And  should  I  fainting  be, 
Lord  let  me  never,  never 
Outlive  my  love  for  Thee. 

5.  Be  near  me  when  I'm  dying, 
(Gerh.  X.)     O  show  Thy  Cross  to  me: 

And  to  my  succour  flying, 
Come,  Lord,  and  set  me  free. 
These  eyes  new  faith  receiving, 
From  Jesus  shall  not  move ; 
For  he,  who  dies  believing, 
Dies  safely  through  Thy  love. 

Miss  Winkworth,  1855,  in  her  Lyra  Germanica,  ist  Series. 

i.     Ah  wounded  Head!   must  Thou 
Endure  such  shame  and  scorn ! 
The  blood  is  trickling  from  Thy  brow 
Pierced  by  the  crown  of  thorn. 
Thou  who  wast  crown'd  on  high 
With  light  and  majesty, 
In  deep  dishonor  here  must  die, 
Yet  here  I  welcome  Thee ! 


94  PAUL  GERHARDT  AS  A  HYMN  WRITER 

Miss  Winkworth,  1863,  in  her  Chorale  Book. 

I.     Ah  wounded  Head  that  bearest 
Such  bitter  shame  and  scorn, 
That  now  so  meekly  wearest 
The  mocking  crown  of  thorn ! 
Erst  reigning  in  the  highest 
In  light  and  majesty, 
Dishonored  here  Thou  diest, 
Yet  here  I  worship  Thee. 

A  cento  by  J.  C.  Ryle,  1860,  in  his  Spiritual  Songs. 

i.     I  give  Thee  thanks  unfeigned, 
(Gerh.  O  Jesus,  Friend  in  need, 

stanza  VIII.)     For  what  Thy  soul  sustained 

When  Thou  for  me  didst  bleed. 
Grant  to  lean  unshaken 
Upon  Thy  faithfulness, 
Until  I  hence  am  taken 
To  see  Thee  face  to  face. 

Cento  from  J.  Gambold's  version,  in  Reid's  'Praise  Book,  1866. 

1.  O  Head!   so  full  of  bruises, 
So  full  of  pain  and  scorn ; 
Midst  other  sore  abuses, 
Mock'd  with  a  crown  of  thorn ! 
O  Head!    ere  now  surrounded 
With  brightest  majesty, 

In  death  once  bow'd  and  wounded, 
Accursed  on  a  tree! 

2.  Thou  countenance  transcendent, 
Thou  life-creating  Sun 

To  worlds  on  Thee  dependent, 

Yet  bruised  and  spit  upon !     .     .     .     etc. 

J.  Kelly,  1867,  in  his  Paul  Gerhardfs  Spiritual  Songs. 

i.     Oh!   bleeding  head  and  wounded, 
And  full  of  pain  and  scorn, 
In  mockery  surrounded 
With  cruel  crown  of  thorn ! 
O  Head  !   before  adorned 
With  grace  and  majesty, 
Insulted  now  and  scorned, 
All  hail  I  bid  to  Thee! 

S.  M.  Jackson,  1873,  1880,  in  Schaff- Oilman  Lib.  of  Religious  Poetry. 

i.     O  Head,  blood  stained  and  wounded, 
Tortured  by  pain  and  scorn ! 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY  95 

O  Head  in  jest  surrounded 
By  a  rude  crown  of  thorn! 
O  Head,  once  rich  adorned 
With  highest  laud  and  lays, 
But  now  so  deeply  scorned, 
To  thee  I  lift  my  praise! 

Sir  H.  W.  Baker  in  Schaff-Gilman  Lib.  of  Religious  Poetry. 

i.     O  Sacred  Head,  surrounded 
By  crown  of  piercing  thorn ! 

0  bleeding  Head  so  wounded, 
Reviled  and  put  to  scorn ! 
Death's  pallid  hue  comes  o'er  Thee, 
The  glow  of  life  decays, 

Yet  angel-hosts  adore  thee 
And  tremble  as  they  gaze. 

Miss  Margarete  Miinsterberg,  in  her  Harvest  of  German  Verse,  1916. 

i.      Oh,  wounded  head  and  bleeding, 
By  pain  and  scorn  bowed  down ! 
Oh  head,  the  gibes  unheeding, 
Bound  with  a  thorny  crown ! 
Oh  head,  once  decorated 
With  honors  gloriously, 
Now  tortured  so  and  hated, 

1  greet  and  worship  Thee! 


Wach  auf,  mein  Herz!   und  singe. — (Goed.  59.) 
[Morning.} 

Appeared  in  Cru.  Praxis,  1648,  no.  i,  in  10  stanzas  of  four  lines;  thence  in  Wacker- 
nagel:  no.  99;  Bachmann:  no.  I.  It  was  repeated  in  Cru. — Runge,  1653,  no.  i,  and 
also  in  the  Berlin  G.  L.  S.:  ed.  1863,  no.  1132.  This  is  one  of  the  finest  and  most 
popular  of  German  morning  hymns,  and  soon  passed  into  universal  use,  stanza  VIII 
being  best  known.  Cf.  Koch,  IV,  595  ff. 

English  Versions: 

1.  My  Soul,  awake  and  tender. 

In  full,  by  J.  C.  Jacobi,  in  his  Psalmodia  Germanica,  1720,  p.  33  (1722,  p.  104),  repeated 
in  pt.  I  of  the  Moravian  H.  Bk.,  1754.  In  the  Moravian  H.  Bk.,  1789  and  1886,  it 
begins  "My  soul  awake  and  render,"  stanzas  I,  2,  4,  5,  being  from  I ;  V  (lines  3,  4)  ; 
VI  (lines  i,  2)  ;  X;  VIII. 

2.  Thy  Thanks,  my  Soul,  be  raising. 

H.  J.  Buckoll,  1842,  p.  28. 

3.  Wake,  my  heart,  and  sing  His  praises. 

E.  Massie,  1867. 


96  PAUL  GERHARDT  AS  A  HYMN  WRITER 

4.  Awake,  my  heart,  be  singing. 

J.  Kelly,  1867,  P.  276. 

5.  Wake  up,  my  heart,  elater. 

N.  L.  Frothingham,  1870. 

The  third47  hymn  of  Gerhardt  which  Jacobi  included  in  his  Psalmodia 
Gertnanica4*  is  "Wach  auf,  mein  Herz,  und  singe."  As  this  song  of  trust 
is  one  of  Gerhardt's  oldest  pieces  and  may  be  said  to  set  the  key  for  all 
the  later  hymns,  it  is  appropriate  that  Jacobi  should  find  for  it  a  place  in 
his  very  limited  selection. 

The  eighteenth  century  English  versions  of  German  hymns  invariably 
abound  in  extravagant  figures.  Just  why  in  this  instance  the  translator  has 
chosen  to  add  to  the  text,  where  no  mention  is  made  of  a  "lion,"  the  idea 
of  such  an  animal  in  the  verse : 

Nay,  when  that  Lyon's   Fury, 

is  difficult  to  explain.  Possibly  to  his  own  mind  that  creature  was  more 
terrifying  than  Satan  himself.  Still  less  pardonable  is  the  distortion  in 
stanza  IV: 

Du  sprachst:    Mein  Kind,  nun  liege  Thou  saidst:    my  Child,  be  easy, 

Trotz  dem,  der  dich  betriege !  My  presence  shall  release  Thee 

Schlaf  wol,  lasz  dir  nicht  grauen,  From  frightful  Pain  and  Evil, 

Du  sollt  die  Sonne  schauen.  In  spite  of  Hell  and  Devil. 

Such  alterations  of  the  original,  always  with  the  idea  of  bringing  a  more 
terrible  picture  to  the  mind  of  the  reader,  can  be  justified  on  no  ground 
whatever,  and  accounted  for  only  by  saying  that  the  translator  probably 
regarded  this  as  one  of  the  methods  of 

"resolving  all  the  jarring  Discords  of  Self-love  into  the  heavenly  Concords 
of  Mutual  Love  and  Affection.  If  this  be  not  effected  here  below,  we  shall 
never  be  worthy  to  hear  the  glorious  Anthems  of  the  Seraphic  Quire 
above."48* 

The  singularly  inapt  paraphrase  of  the  couplet  in  stanza  3 : 

Thy  gracious  Condescension, 
Has  crossed  his  sore  Intention 

appears  to  slightly  better  advantage  in  stanza  7 : 

In  gracious  Condescension 
Despise  not  my  Intention ; 
Nor  Body,  Soul,  nor  Spirit 
Can  boast  of  any  Merit. 

The  other  two  are  "Befiehl  du  deine  Wege"   and   "Wie  soil  ich  dich  empfangen?" 
48  The  Psalmodia  Germanica  is  a  collection  of  60  hymns  from  the  German. 
""Concluding  lines  of  Jacobi's  preface  to  his  Psalmodia  Germanica,  1722. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY 


97 


Another  characteristic  of  the  English  versions  of  this  period  is  the 
emphasizing  of  the  tortures  of  Hell  and  the  Devil.  Just  as  in  stanza  4 
above,  we  are  not  surprised  to  read  in  stanza  8 : 

From  Satan's  woeful  doings, 

although  there  is  in  the  German  no  suggestion  whatever  of  Satan  or  his 
deeds.  Similarly,  the  concluding  stanza,  after  the  pleasing  opening  lines, 
causes  something  of  a  shock  by  its  abrupt  descent  to  the  grotesque: 

Thy  Bliss  be  my  Salvation, 

My  Heart  thy  Habitation ; 

Thy  Word  my  Food  and  Relish, 

Till  thou  destroy'st  what's  Hellish. 

Except  for  the  imperfect  rhymes  in  most  of  his  stanzas  Kelly's  version 
is  unusually  good  both  as  a  scrupulously  faithful  rendering  and  a  successful 
attempt  to  keep  the  simple  language  and  reproduce  the  characteristic  touches 
of  Gerhardt.  The  line : 

The  sunlight  shall  delight  thee, 

takes  on  a  new  significance  when  compared  with 

Du  sollt  die  Sonne  schauen, 

and  strophe  8  is  particularly  well  done  in  that  it  has  so  large  a  predominance 
of  Anglo-Saxon  words : 


So  wollst  du  nun  vollenden 
Dein  Werk  an  mir  und  senden 
Der  mich  an  diesem  Tage 
Auf  seinen  Handen  trage. 


Thou  wilt,  O  Lord !    be  ending 
Thy  work  in  me  and  sending 
Who  in  his  hands  will  take  me, 
Today  his  care  will  make  me. 


Selected  Stanzas: 

J.  C.  Jacobi,  in  his  Psalmodia  Germanic  a,  1722. 

I. 

My  Soul  awake,  and  tender 
To  God,  thy  great  Defender 
Thy  Prayer  and  Thanksgiving, 
Because  thou  art  still  living. 

II. 

Last  Night,  when  lying  senseless, 
And  utterly  defenceless, 
I  was  in  greatest  Danger 
From  Darkness  and  its  Ranger. 


98  PAUL  GERHARDT  AS  A  HYMN  WRITER 

John  Kelly,  in  his  Paul  Gerhardfs  Spiritual  Songs,  1867. 

1.  Awake,  my  heart!    be  singing, 
Praise  to  thy  Maker  bringing, 
Of  every  good  the  Giver, 
Who  men  protecteth  ever. 

2.  As  shades  of  night  spread  over 
Earth  as  a  pall  did  cover, 
Then  Satan  sought  to  have  me 
But  God  was  near  to  save  me. 


Nun  ruhen  alle  Walder.— (Goed.  60.) 
[Evening.} 

First  published  in  Cri'i.  Praxis,  1648,  no.  15,  in  9  stanzas  of  6  lines;  thence  in 
Wackernagel:  no.  102;  Bachmann:  no.  2;  Unv.  L.  S.:  1851,  no.  529.  Cf.  Koch,  IV, 
607;  VIII,  194- 

This  is  one  of  the  finest  and  one  of  the  earliest  of  Gerhardfs  hymns.  In 
the  time  of  Flat  Rationalism  in  Germany  the  first  stanza  became  the  object 
of  much  derision.49  But  the  shallow  wit  showed  how  little  poetry  was 
then  understood,  for  Gerhardt  followed  in  thus  beginning  his  hymn  a  much 
admired  passage  of  Virgil,  JEneid  IV,  522-528 : 

Nox  erat,  et  placidum  carpebant  fessa  soporem 
Corpora  per  terras,  silvaeque  et  saeva  quierant 
Aequora,  cum  medio  volvuntur  sidera  lapsu, 
Cum  tacet  omnis  ager,  pecudes  pictaeque  volucres, 
Quaeque  lacus  late  liquidos,  quaeque  aspera  dumis 
Rura  tenent,  somno  positae  sub  nocte  silenti 
(Lenibant  curas,  et  corda  oblita  laborum). 

Among  the  common  people  the  hymn  became  an  exceeding  favorite  and 
was  generally  used  as  an  evening  prayer.  Its  childlike  simplicity  combined 
with  its  deep  poetical  charm  has  won  the  hearts  of  old  and  young  to  the 
present  day.  Frequently  it  has  been  sung  on  starry  nights  by  men,  women, 
or  children  in  the  fields  on  their  homeward  way,  and  many  have  laid  them- 
selves down  for  the  long  sleep  of  death  with  this  hymn  on  their  lips. 

A  troop  of  French  soldiers  entered  Lisberg,  a  small  town  of  Hesse,  on 
the  1 4th  of  September,  1796,  plundered  and  killed  the  inhabitants,  and 
burned  the  whole  town.  A  little  way  distant,  at  the  foot  of  a  mountain,  was 
a  small  cottage  in  which  a  mother  sat  by  the  bedside  of  her  sick  child. 

49  Cf.  "Jetzt  schlafen  weder  Walder,"  as  no.  2338,  in  the  final  "Zugabe"  to  the 
Herrnhut  Gesangbuch,  1735,  dated  "On  Aug.  13,  1748,  after  Holy  Communion  at 
Herrnhut."  This  is  a  parody  on  the  style  of  Gerhardt's  stanzas  I,  II,  III,  VI,  VII. 
It  was  translated  and  included  in  Part  II  of  the  Moravian  H.  Book,  1754,  as  "Thof 
now  no  creature's  sleeping." 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY  99 

Hearing  the  noise  in  the  town  and  seeing  the  burning  houses  she  locked  the 
door  and  knelt  by  the  bedside  and  prayed.  As  the  door  burst  open  and  a 
furious  soldier  rushed  in,  she  spread  her  hands  over  the  child  and  cried : 

Breit  aus  die  Fliigel  beide, 

O  Jesu,  meine  Freude,     .     .     .     (stanza  VIII), 

and  lo !  the  wild  soldier  suddenly  dropped  his  arm,  stepped  to  the  bed,  and 
laid  his  rough  hand  gently  on  the  child's  head.  Then  going  outside  he  stood 
guard  that  none  of  his  troop  might  harm  the  cottage. 

Although  in  limited  use  in  the  English  hymn  books,  the  translations  are 
numerous,  as  follows : 

1.  Quietly  rest  the  woods  and  dales. 

Omitting  stanza  VIII  by  Mrs.  Findlater,  in  H.  L.  L.,  ist  Series,  1854,  p.  36  (1884, 
p.  38),  included  in  Cantate  Domino,  Boston,  U.  S.  A.,  1859. 

2.  Now  all  the  woods  are  sleeping. 

A  full  and  good  translation  by  Miss  Winkworth,  in  the  2d  ed.,  1856,  of  the  ist  Series 
of  her  Lyra  Ger.,  1855,  p.  228.  Included  in  full  in  her  C.  B.  for  England,  1863,  and 
the  Ohio  Luth.  Hyl,  1880. 

3.  Now  woods  their  rest  are  keeping. 

A  translation  of  stanzas  I,  III,  VIII,  IX,  by  Edward  Thring,  as  no.  18  in  the  Upping- 
ham  and  Sherborne  School  H.  Bk.,  1874. 

4.  Jesu,  our  Joy  and  loving  Friend. 

A  translation  of  stanza  VIII  as  no.  200  in  the  Appendix  of  1743  to  the  Moravian 
H.  Bk.,  1742. 

5.  Now  Woods  and  Fields  are  quiet. 

In  the  Suppl.  to  Ger.  PsaL,  ed.  1765,  p.  73- 

6.  Display  thy  both  wings  over. 

A  translation  of  stanza  VIII  as  no.  156  in  pt.  I  of  the  Moravian  H.  Bk.,  1754. 

7.  Jesus,  our  Guardian,  Guide  and  Friend. 

A  translation  of  stanza  VIII  as  no.  765  in  the  Moravian  H.  Bk.,  1789  (1886,  no.  1190). 

8.  Lo!   Man  and  Beast  are  sleeping. 

H.  J.  Buckoll,  1842,  p.  76. 

9.  Now  rest  beneath  night's  shadow. 

E.  D.  Yeomans,  in  Schaff' s  Kirchenfreund,  1853,  p.  195. 

10.  Now  rest  the  woods  again. 

Miss  Winkworth,  1855,  p.  226  (see  no.  2  above). 

11.  Rise,  my  soul,  thy  vigil  keep. 

Miss  Dunn,  1857,  p.  9. 

12.  Now  resteth  all  creation. 

J.  S.  Stallybrass,  in  the  Tonic  Solfa  Reporter,  January,  1859,  and  Curwen's  Har- 
monium and  Organ  Book,  1863,  p.  58. 


100 


PAUL  GERHARDT  AS  A  HYMN  WRITER 


13.  Now  every  greenwood  sleepeth. 

Miss  Manington,  1863,  p.  133- 

14.  Now  hushed  are  woods  and  waters. 

Miss  Cox,  1864,  p.  9- 

15.  Now  spread  are  evening's  shadows. 

/.  Kelly,  1863,  P.  285. 

1 6.  The  woods  are  hushed;   o'er  town  and  plain. 

Dr.  J.  Guthrie,  1869. 

17.  The  duteous  day  now  closeth. 

In  the  Yattendon  Hymnal,  1899,  thence  in  Hymns  of  the  Kingdom  of  God,  N.  Y., 
1910,  1916,  and  the  Hymnal  of  Praise,  N.  Y.,  1913. 

Quaint  and  homely  as  it  is,  this  hymn  has  done  much  to  enkindle  devotion 
and  strengthen  grace  among  Christian  readers  in  Germany,  and  is  now 
familiar  to  English-speaking  peoples  through  the  beautiful  translations  of 
Miss  Winkworth  and  Mrs.  Findlater.  Both  they  and  Dr.  Guthrie  have 
successfully  imitated  the  sweetly  domestic  tone  in  poems  that  have  soothed 
many  a  careworn  spirit  at  the  close  of  day. 

In  the  version  which  appeared  in  her  Lyra  Germanica  Miss  Winkworth 
evidently  overlooked  the  fact  that  line  3  of  her  first  stanza  had  an  extra  foot : 
O'er  field  and  city,  man,  and  beast. 

In  the  version  for  church  singing  printed  in  her  Chorale  Book  the  line  is 
changed  to  the  normal  six-syllable  iambic  measure  to  admit  of  its  being  set 
to  the  old  German  melody,50  "O  Welt,  ich  musz  dich  laszen." 

Gerhardt's  stanza  VIII,  "Breit  aus  die  Fliigel  beide,"51  has  been  a  special 
favorite  in  Germany,  and  Lauxmann  in  Koch  VIII,  194,  says  of  it: 

50  In  Mittenwalde,  where  Gerhardt  had  a  pastoral  charge  from  1651-1657  (cf.  p.  3  ff.), 
there  prevailed  the  custom  of  playing  an  evening  hymn  from  the  tower.  The  one  used 
up  to  that  time  was  the  old  and  then  well-known  lay,  "Innsbruck,  ich  musz  dich 
laszen."  Gerhardt  liked  the  air,  but  longed  to  see  it  associated  with  a  better  and  more 
really  evening  hymn.  For  this  end  he  composed  "Nun  ruhen  alle  Walder."  The 
melody  was  originally  composed  in  I488(?)  by  Heinrich  Isaac,  conductor  of  the  choir 
of  Maximilian  I.  The  great  masters  Bach  and  Mozart  are  reported  to  have  said  that 
they  would  gladly  give  their  best  works  for  this  single  tune.  In  our  hymnals  it  is 
usually  called  "Innsbruck,"  but  in  German  hymn  books  it  is  given  as  "O  Welt, 
ich  musz  dich  laszen,"  from  the  first  line  of  the  hymn  of  Johann  Hesse,  1855,  which 
was  set  to  it. 

61  Breit  aus  die  Fliigel  beide 

O  Jesu,  meine  Freude, 

Und  nimm  dein  Kiichlein  ein ! 

Will  Satan  mich  verschlingen, 

So  lasz  die  Englein  singen : 

Dies  Kind  soil  unverletzet  sein. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY          101 

"How  many  a  Christian  soul,  children  mostly,  but  also  God's  children  in 
general,  does  this  verse  serve  as  their  last  evening  prayer.  It  has  often  been 
the  last  prayer  uttered  on  earth,  and  in  many  districts  of  Germany  is  used 
at  the  close  of  the  baptismal  service  to  commend  the  dear  little  ones  to  the 
protection  of  their  Lord  Jesus." 

Miss  Winkworth  has  successfully  caught  the  truly  childlike  popular 
spirit  of  the  stanza  in  the  lines  : 

My  Jesus,  stay  Thou  by  me, 

And  let  no  foe  come  nigh  me, 

Safe  sheltered  by  Thy  wing; 

But  would  the  foe  alarm  me, 

O  let  him  never  harm  me, 

But  still  Thine  angels  round  me  sing. 

Interesting  and  amusing  by  its  grotesqueness  is  the  Moravian  version  of 
this  stanza,52  printed  as  a  separate  hymn  in  the  edition  of  1754: 

Matt.  XXIII,  37. 
Breit  aus  die  flugel  beide. 

(sic!) 

Display  thy  both  Wings  over 
Thy  Chickens  and  them  cover, 

O  Jesu,  Savior  mild ! 
If  devils  would  disturb  'em, 
Let  holy  angels  curb  'em 
And  bid  them  never  touch  thy  Child. 

In  the  rich  language  in  which  such  hymns  were  conceived  and  expressed 
they  possess  a  force  that  is  not  easily  retained  in  a  translation  especially 
wThere  as  in  the  present  instance  there  is  such  an  abundance  of  double 
rhymes.  Dr.  J.  Guthrie's  version  has  in  England  gained  some  popularity 
through  the  melodious  rhythm  he  has  given  his  lines  by  not  restricting  him- 
self to  Gerhardt's  metre,53  and  certainly  the  iambic  line  is  more  suited  to  an 
English  treatment  of  the  theme  of  rest  and  repose.  Note  this  effect  in 
Guthrie's  lines : 

The  woods  are  hushed  o'er  town  and  plain  (i). 

Now  hastes  the  body  to  repose  (19). 

My  laden  eyes  to  slumber  yield54  (31). 

52  Founded  on  St.  Matthew  XXIII,  37.     "O  Jerusalem     .     .     .    how  often  would  I 
have  gathered  thy  children  together,  even  as  a  hen  gathereth  her  chickens  under  her 
wings,  and  ye  would  not !" 

53  Line  3  in  his  stanza  is  the  same  length  as  Gerhardt's. 

54  Cf.  the  same  effect  in  Adelaide  Procter's  hymn : 

The  shadows  of  the  evening  hours 
Fall  from  the  dark'ning  sky 
Upon  the  fragrance  of  the  flowers 
The  dews  of  evening  lie;    etc. 


PAUL  GERHARDT  AS  A  HYMN  WRITER 

The  sound  sequence  in  stanza  VIII  to  which  the  lines  owe  some  of  their 
popularity  Dr.  Guthrie  has  obviously  endeavored  to  imitate  by  the  allitera- 

tivre 

My  Savior,  Shield  and  Sun ! 

When  Satan  on  my  soul  would  spring, 

which  would  indeed  do  justice  to  Gerhardt.      However  a  less  unpleasant 
sound  than  the  repeated  sibilant  which  he  has  used,  would  suit  the  English 

ear  better. 

As  an  attempt  to  translate  with  scrupulous  faithfulness  Kelly's  version  is 
of  some  interest.  The  difficulties  in  the  double  rhymes  he  overcomes  by 
the  device  of  inflectional  endings  and  repetition  of  pronouns  which  although 
at  first  moderately  satisfactory  must  eventually  become  monotonous : 

declining  hasteth  tired 

shining  divesteth  expired53 

sing  ye  make  me  send  you 

bring  ye  o'ertake  me  defend  you. 

Mrs.  Findlater  has  in  her  version  changed  the  metre  of  the  original  for 
all  lines  except  the  third  and  sixth ;  in  the  closing  couplet  or  even  the  con- 
cluding line  of  each  stanza  she  has  more  than  any  other  translator  repro- 
duced the  idea  of  peaceful  repose  which  was  so  evidently  Gerhardt's 
intention. 

Stanza  3,  lines  5  and  6.      When  I  hear  my  Lord's  command 
To  leave  this  earth  and  upward  fly. 

Stanza  8,  lines  5  and  6.      Give  to  my  beloved  sleep, 

And  angels  send  to  guard  their  home. 

The  omission  of  stanza  VIII  containing  the  figure  of  the  hen  gathering  in 
her  chicks  is  partially  justifiable  on  the  ground  that  the  poem  is  complete 
without  it,  and  that  such  similes  while  appropriately  introduced  into  hymns 
of  the  seventeenth  century  are  out  of  place  in  nineteenth  century  hymnody. 
On  the  other  hand  by  this  ruthless  pruning  the  distinctive  touch  that  Ger- 
hardt gave  the  hymn  is  lost.  It  is  interesting  to  note  in  the  examination  of 
the  various  English  versions  of  Gerhardt's  poetry  the  treatment  which  the 
"homely  element"  receives  from  the  translator.  The  poem  under  consider- 
ation will  form  a  good  basis  for  discussion.  Almost  invariably  the  translator 
offers  a  paraphrase  departing  more  or  less  widely  from  the  original  and 
effecting  a  colorless  result :  Gerhardt  writes  in  stanza  IV : 

Der  Leib  eilt  nun  zur  Ruhe, 
Legt  ab  das  Kleid  und  Schuhe. 

"This  rhyme  occurs  in  two  successive  stanzas. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY          103 

Miss  Winkworth  renders : 

The  body  hastes  to  slumber 
These  garments  now  but  cumber. 

Mrs.  Findlater: 

Now  the  body  seeks  for  rest 
From  its  vestments  all  undrest. 

Kelly : 

To  rest  the  body  hasteth 
Itself  of  clothes  divesteth. 

Guthrie,  however,  whose  version  as  a  whole  would  doubtless  be  considered 
the  best  literary  production,  is  not  content  with  what  is  in  the  German  but 
takes  the  opportunity  offered  by  the  extra  syllables  in  his  longer  line  to 
describe  the  vestment  more  explicitly : 

Now  hastes  the  body  to  repose 

Throws  off  its  garments,  shoes  and  hose. 

Selected  Stanzas: 

Mrs.  Findlater,  1854,  in  her  Hymns  from  the  Land  of  Luther. 

Stanza  i.       Quietly  rest  the  woods  and  dales, 
Silence  round  the  hearth  prevails, 
The  world  is  all  asleep ; 
Thou,  my  soul,  in  thought  arise, 
Seek  thy  Father  in  the  skies, 
And  holy  vigils  with  Him  keep. 

Miss  Winkworth,  1863,  in  her  Chorale  Book. 

Stanza  i.      Now  all  the  woods  are  sleeping, 
And  night  and  stillness  creeping 
O'er  (field  and)  city,  man  and  beast; 
But  thou,  my  heart,  awake  thee, 
To  prayer  awhile  betake  thee, 
And  praise  thy  Maker  ere  thou  rest. 

J.  Kelly,  1863,  in  his  Paul  Gerhardt's  Spiritual  Songs. 

Stanza  i.       Now  spread  are  evening's  shadows, 
O'er  forests,  towns,  and  meadows, 
And  sleepeth  every  eye ; 
Awake  my  powers  and  sing  ye, 
And  pray'r  and  praises  bring  ye, 
That  your  Creator  please  on  high ! 

J.  Guthrie,  1869,  in  his  Sacred  Lyrics. 

Stanza  i.      The  woods  are  hushed;   o'er  town  and  plain, 
O'er  man  and  beast,  soft  slumbers  reign : 


104 


PAUL  GERHARDT  AS  A  HYMN  WRITER 

The  world  has  gone  to  rest. 
But  thou,  my  soul,  my  every  sense, 
Wake  up,  thy  Maker's  praise  commence, 
And  be  that  praise  thy  best. 

In  the  Hymnal  of  Praise,  1913  (translator's  name  not  given) 

Stanza  i.      The  duteous  day  now  closeth, 
Each  flow'r  and  tree  reposeth, 
Shade  creeps  o'er  wild  and  wood. 
Let  us,  as  night  is  falling, 
On  God,  our  Maker  calling, 
Give  thanks  to  Him,  the  Giver  good. 

Stanza  2.      Now  all  the  heavenly  splendor 
Breaks  forth  in  starlight  tender 
From  myriad  worlds  unknown; 
And  man,  Thy  marvel  seeing, 
Forgets  his  selfish  being 
For  joy  of  beauty  not  his  own. 


Ein  Lammlein  geht  und  tragt  die  Schuld. —  (Goed.  68.) 
[Passiontide.] 

Appeared  in  Crii.  Praxis,  1648;  thence  in  Wackernagel:  no.  13;  Bachmann:  no.  7. 
Lauxmann  in  Koch  VIII,  40,  designates  it  as  "the  masterpiece  of  all  Passion  hymns." 
It  is  commonly  sung  in  Germany  and  was  included  in  the  Unv.  L.  S.:  1851,  no.  95, 
but  because  of  the  complexity  and  variety  of  figures  it  has  not  come  into  extensive 
English  or  American  use. 

English  Versions: 

1.  A  Lamb  goes  forth:  the  sins  he  bears 
Of  every  generation. 

A  translation  of  stanzas  I  and  II  and  part  of  IV  by  A.  T.  Russell  in  his  Psalms  and 
Hymns,  1851. 

2.  A  Lamb  goes  uncomplaining  forth. 

Mrs.  Charles'  translation  (combining  Gerhardt's  stanzas  II  and  III  as  2)  appears  in 
her  Voice  of  Christian  Life  in  Song,  1858,  p.  232.  The  second  part  of  her  version, 
beginning,  "Gate  of  my  heart,  fly  open  wide"  (stanza  VII),  appears  in  the  following: 
(a)  Bishop  Kyle's  Collection,  1860;  (b)  Reid's  Praise  Boqk,  1872;  (c)  Christian 
Hymns,  Adelaide,  1872. 

3.  A  Lamb  bears  all  its  guilt  away 
The  world  thus  to  deliver. 

A  full  translation  by  /.  Kelly,  1867,  p.  49-  The  Ohio  Luth.  Hymnal,  1880,  reduces 
it  to  4  stanzas. 

4.  A  Lamb  goes  forth  and  bears  the  Guilt 
Of  all  the  world  together. 

J.  Gambold,  as  no.  241  in  part  III,  1746,  of  the  Moravian  H.  Book.  In  part  II  of  the 
1754  edition  it  begins  "A  Lamb  goes  forth  and  on  him  bears."  In  the  ed.  of  1801  it 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY          105 

begins    "A  Lamb  went  forth,"    etc.      Stanzas  V,  IX,  X,  of  this  version,  beginning, 
"Jesus,  I  never  can  forget,"   are  included  in  E.  P.  Hood's  Our  Hymn  Book,  1868. 

5.  A  Lamb  goes  forth  and  bears  the  Guilt 
Of  Adam's  Generations. 

A  translation  in  the  Sup  pi.  to  Ger.  Psal.,  ed.  1765,  and  also  Select  Hymns  from  Ger. 
Psal.,  Tranquebar,  1754. 

6.  See,  bowed  beneath  a  fearful  weight. 

Miss  Dunn,  1857,  p.  32. 

7.  A  Holy,  Pure  and  Spotless  Lamb. 

Miss  Cox,  in  Lyra  Messianica,  1864,  p.  230,  and  also  in  her  Hymns  from  the  German, 
1864,  p.  107. 

8.  Forth  goes  a  dear  devoted  Lamb. 

Dr.  J.  Guthrie,  in  his  Sacred  Lyrics,  1869,  p.  82. 

9.  Behold  a  Lamb!   so  tired  and  faint. 

Mrs.  E.  J.  Carr,  in  Songs  of  the  Inner  Life,  1871.  This  version  appeared  also  in 
Reid's  Praise  Book,  1872,  with  slight  alterations. 

10.  A  Lamb  goes  forth — for  all  the  dues. 

Catharine  Macrea,  in  Reid's  Praise  Book,  1872,  no.  990. 

The  unusual  figures  in  this  Passion  Hymn  have  prevented  its  receiving 
in  English-speaking  countries  the  wide  popularity  attained  by  "O  Haupt 
voll  Blut  und  Wunden."56  Yet  because  of  its  dealing  with  a  theme  that 
appealed  so  strongly  to  Gerhardt  and  its  being  so  characteristic  of  his  piety 
and  simplicity,  a  glimpse  into  the  treatment  accorded  it  by  English  trans- 
lators should  not  be  without  interest.  With  hardly  less  depth  of  feeling 
than  in  "O  Haupt  voll  Blut  und  Wunden"  but  with  stranger  imagery  Ger- 
hardt portrays  the  passion  of  Christ  and  reflects  upon  its  significance,  and 
the  comfort  the  Christian  derives  from  it. 

The  Moravian  Hymn  Book  contains  Gambold's  translation  in  Gerhardt's 
metre  of  nine  of  the  ten  stanzas ;  the  seventh,  which  abounds  in  metaphors, 
he  has  omitted.  Mention  has  elsewhere57  been  made  of  Gerhardt's  familiar- 
ity of  tone  in  addressing  the  Savior.  Gambold  equals  his  master  in  this 
respect ;  witness  stanza  5  : 

Whilst  I  live  here,  I  never  shall 

Forget  thy  Grace  amazing ; 

Our  love  shall  be  reciprocal, 

I  also  Thee  embracing. 

My  heart's  Light  thou  shalt  be  always, 

58  Cf.  p.  86  ff. 

57  Cf.  pp.  18  and  89. 


io6  PAUL  GERHARDT  AS  A  HYMN  WRITER 

And  when  it  breaks  once  (as  one  says) 
Thou'lt  be  my  Heart  thenceforward     .     .    . 

The  figure  in  the  concluding  stanza  of  the  bride  clothed  in  purple  is  rather 
spoiled  by  Gambold  by  the  baldness  of  the  couplet : 

Thy  Blood  shall  of  my  Weddingdress 
Be  then  the  only  splendor. 

Nor  have  we  in  the  German  anything  to  suggest  the  final  lines : 

Then  will  the  Mother,  who  bore  me, 
And  nursed  me  up,  my  Lamb,  for  thee, 
Present  me  as  thy  Purchase. 

Russell's  short  version  of  two  stanzas  presents  an  effective  paraphrase  of 
the  last  three  lines  of  Gerhardt's  stanza  IV : 

O  siiszes  Lamm,  was  soil  ich  dir  O  Lamb  beloved!    How  shall  I  Thee 

Erweisen  dafiir,  dasz  du  mir  Requite  for  all,  thus  unto  me 

Erweisest  so  viel  Gutes?  Such  wondrous  goodness  showing? 

Under  the  title  "The  sin-bearing  Lamb"  Dr.  Guthrie  gives  in  his  Sacred 
Lyrics  perhaps  the  most  readable  English  translation,  as  it  combines  Ger- 
hardt's beautiful  piety  and  spiritual  simplicity;  it  is  also  unique  among 
translations  from  the  German,  in  that  it  introduces  more  of  the  direct  address 
than  is  usual,  translators  preferring  as  a  rule  to  render  quotations  in  the 
indirect  form: 

"Give  me,"   he  says,    "the  wreath  of  thorn,"    etc. 

Stanza  7,  which  Gambold  omitted  entirely,  is  the  beginning  of  a  hymn  in 
Reid's  Praise  Book.  It  is  a  cento  taken  from  Mrs.  Charles'  very  free  trans- 
lation (1858)  and  is  cited  here  to  illustrate  the  liberties  often  taken  by 
translators.  Here,  of  course,  the  free  paraphrase  is  reasonably  justifiable: 

STANZA  7. 

Gerhardt.  Mrs.  Charles. 

Erweitre  dich,  mein  Herzensschrein,  Gate  of  my  heart,  fly  open  wide— 

Du  sollt  ein  Schatzhaus  werden  Shrine  of  my  heart,  spread  forth; 

Der  Schatze,  die  viel  groszer  sein  The  treasure  will  in  thee  abide 

Als  Himmel,  Meer  und  Erden.  Greater  than  heaven  and  earth : 

Weg  mit  dem  Gold  Arabia !  Away  with  all  this  poor  world's  treasures, 

Weg  Calmus,  Myrrhen,  Casia !  And  all  this  vain  world's  tasteless  pleasures, 

Ich  hab  ein  Bessers  funden.  My  treasure  is  in  heaven; 

Mein  groszer  Schatz,  Herr  Jesu  Christ  For  I  have  found  true  riches  now, 

1st  dieses,  was  geflossen  ist  My  treasure,  Christ,  my  Lord,  art  Thou, 

Aus  deines  Leibes  Wunden.  Thy  blood  so  freely  given ! 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY          107 

Selected  Stanzas: 

In  the  Moravian  Hymn  Book,  1754  ed.,  part  II  (author's  name  not  given). 

Stanza  i.      A  Lamb  goes  forth  and  on  him  bears 
The  Guilt  and  misdemeanour 
Of  all  the  World,  and  patient  wears 
The  Likeness  of  a  Sinner. 

Stanza  2.       Great  King!   in  ev'ry  age  confest, 
Yet  never  more  or  greater, 
Than  when  thou  with  thy  Wounds  wast  drest, 
Could  I  but  praise  thee  better ! 

J.  Gambold,  in  the  1754  edition  of  the  Moravian  Hymn  Book. 

Stanza  i.      A  Lamb  goes  forth,  and  bears  the  guilt 
Of  all  the  world  together, 
Most  patiently  by  his  Blood  spilt 
To  pay  for  ev'ry  Debtor ; 
Sickness  and  toil  he  on  him  took, 
Went  freely  to  the  Slaughter-block 
All  comfort  he  refused; 
He  underwent  reproach  and  blame, 
Death  on  the  Cross,  and  Stripes  and  shame, 
And  said,  I  gladly  chuse  it. 

A.  T.  Russell,  in  his  Psalms  and  Hymns,  1851. 

Stanza  i.      A  Lamb  goes  forth :   the  sins  He  bears 

Of  every  generation: 
Himself  with  patience  He  prepares 
To  die  for  every  nation. 
All  faint  and  weak,  behold !    He  goes, 
His  life  resigning  to  His  foes : 
No  thought  His  grief  can  measure. 
He  yields  to  scorn,  reproach,  disdain, 
Wounds,  anguish,  cross,  and  dying  pain, 
And  saith,   "It  is  my  pleasure." 

J.  Guthrie,  1869,  in  his  Sacred  Lyrics. 

Stanza  I.       Forth  goes  a  dear  devoted  Lamb 
And  dies  an  expiation 
For  sinners  all,  of  every  name, 
Of  every  age  and  nation. 
Forlorn  and  faint,  behold  He  gains 
The  scene  of  more  than  deadly  pains, 
No  earthly  good  possessing : 
"Give  me,"  he  says,   "The  wreath  of  thorn, 
The  stripes,  the  curse,  the  Cross  of  scorn, 
That  men  may  have  the  blessing." 


io8  PAUL  GERHARDT  AS  A  HYMN  WRITER 

Warum  sollt  ich  mich  denn58  gramen?—  (Coed.  122.) 
[Cross  and  Consolation.] 

Founded  on  Psalm  LXXIII,  23.  Appeared  in  Crii.—Runge,  1653,  no.  240,  in  12 
stanzas  of  8  lines;  thence  in  Wackernagel:  no.  64;  Bachmann:  no.  29;  Crii.  Praxis: 
1656,  no.  320;  Unv.  L.  S.:  1851,  no.  784-  Cf.  Koch  IV,  525;  VIII,  471-9- 

This  is  a  very  beautiful  hymn  but  difficult  of  translation.  It  was  a  source 
of  comfort  to  the  Salzburg  emigrants  on  their  way  through  Swabia  in  1732 
(cf.  Goethe's  Hermann  und  Dorothea},  and  to  Frederick  William  I.  of 
Prussia  on  his  deathbed,  May  31,  1740.  The  eighth  stanza  was  the  last 
utterance  of  Gerhardt  on  the  day  of  his  death,  May  27,  1676.  It  has  since 
cheered  and  comforted  many  Christians,  both  in  the  season  of  trial  and  in 
the  hour  of  death.  It  was  joyfully  sung  by  the  pious  pastor  Hosch  of  Gach- 
ingen  in  Wurttemberg,  when  on  the  2d  of  July,  1800,  French  soldiers  had 
plundered  his  house,  leaving  him  almost  nothing  but  his  harp,  with  which 
he  accompanied  the  cheering  strains  of  this  hymn.  The  words  of  the 

seventh  stanza: 

Unverzagt  und  ohne  Grauen 

Soil  ein  Christ,  Wo  er  ist, 

Stets  sich  laszen  schauen.     .     .     . 

were  spoken  by  the  pious  lawyer  in  Stuttgart,  John  Jacob  Moser,  when,  in 
consequence  of  his  fearless  remonstrances  against  injustice,  he  was  called 
before  his  sovereign,  the  Duke  of  Wurttemberg,  to  be  sentenced  to  impris- 
onment. The  Queen  of  Poland  and  Electress  of  Saxony,  Christiana  Eber- 
hardina,  who  died  on  the  5th  of  September,  1726,  derived  great  consolation 
in  her  dying  moments  from  the  eighth  stanza  which  was  repeated  to  her  by 
her  chaplain. 

English  Versions: 

1.  Why,  my  soul,  thus  trembling  ever. 

A  good  translation  of  stanzas  I,  IV,  VII,  VIII,  XI,  XII,  as  no.  232  in  the  Anglican 
H.  Bk.,  1868.  Translated  by  the  Rev.  Angelo  A.  Benson,  1862. 

2.  Why  should  sorrow  ever  grieve  me. 

In  full  by  /.  Kelly,  1867,  p.  214.  His  translation  of  stanzas  I,  V,  X-XII,  are  repeated 
in  the  Ohio  Luth.  Hymnal,  1880,  no.  420. 

3.  Why  should  I  continue  grieving. 

In  the  Suppl.  to  Ger.  Psalmody,  ed.  1765,  p.  58,  in  the  Moravian  H.  Bk.,  1754,  and 
in  the  Supplement  of  1808  to  the  Moravian  H.  Bk.  of  1801,  but  with  stanzas  VIII,  X, 
altered  and  beginning  "With  undaunted  resolution." 

4.  Wherefore  should  I  grieve  and  pine. 

Miss  Winkworth  in  her  Lyra  Ger.,  1858,  p.  198. 

*"denn"  is  probably  the  authentic  reading,  although  Goedeke  prints  "doch."  Cf. 
p.  16. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY          109 

5.    Wherefore,  then,  should  I  be  gloomy. 

N.  L.  Frothingham,  1870,  p.  144. 

This  "Christliches  Freudenlied"  has  an  especial  interest,  for  it  seems  to 
have  been  the  hymn  that  was  most  comforting  to  Gerhardt.  We  know  that 
in  his  last  moments59  he  repeated  stanza  VIII : 

Kann  uns  doch  kein  Tod  nicht  todten, 

Sondern  reiszt  Unsern  Geist 

Aus  viel  tausend  Noten ; 

Schleuszt  das  Thor  der  bittern  Leiden 

Und  macht  Bahn,  Da  man  kann 

Gehn  zur  Himmelsfreuden. 

It  was  fitting  that  one  whose  hymns  are  so  replete  with  expressions  of 
earthly  and  the  far  greater  heavenly  joys  should  go  to  his  final  rest  com- 
forted by  the  full  realization  of  their  meaning. 

The  translator  in  the  1754  edition  of  the  Moravian  Hymn  Book  has  with 
a  few  characteristic  exceptions  treated  the  peculiar  rhythm  and  metre  skill- 
fully. Although  the  line 

Han't  I  still  Christ  my  Hill, 

(line  2)  would  not  be  acceptable  to-day,  still  our  attention  is  forcibly  drawn 
to  the  rhythm  and  note  of  genuine  fervor  in  the  reproduction  of  our  poet's 
last  words : 

Conquered  Death  cannot  destroy  us, 

But  cuts  short  grief  and  Smart 

That  doth  here  annoy  us ; 

Shuts  the  door  on  sin  and  sadness 

And  makes  way  for  the  Day 

Of  eternal  gladness. 

John  Kelly  in  his  Paul  Gerhardt' s  Spiritual  Songs  although  he  does  not 
retain  much  of  the  lyric  grace  of  the  original  translates  the  poem  with 
scrupulous  faithfulness.  His  stanza  8  suffers  greatly  by  comparison  with 
that  of  the  Moravian  version  given  above. 

Death  can  never  kill  us  even, 
But  relief 
From  all  grief 
To  us  then  is  given. 
It  does  close  life's  mournful  story 
Make  a  way 
That  we  may 
Pass  to  heavenly  glory. 

69  Cf.  p.  5. 


no 


PAUL  GERHARDT  AS  A  HYMN  WRITER 


Selected  Stanzas: 

In  the  1754  edition  of  the  Moravian  Hymn  Book   (author's  name  not 
given). 

Stanza  i.      Why  should  I  continue  grieving, 
Han't  I  still  Christ  my  Hill, 
And  my  Savior  living? 
Who'll  deprive  me  of  Salvation 
Which  by  Faith  Jesus  hath 
Giv'n  in  expectation? 

John  Kelly  in  his  Paul  Gerhardt's  Spiritual  Songs,  1867. 

Stanza  i.      Why  should  sorrow  ever  grieve  me? 

Christ  is  near 

What  can  here 
E'er  of  Him  deprive  me? 
Who  can  rob  me  of  my  heaven 

That  God's  Son 

As  mine  own 
To  my  faith  hath  given? 

Miss  Winkworth  in  her  Lyra  Germanic  a,  1858. 

Stanza  i.      Wherefore  should  I  grieve  and  pine? 
Is  not  Christ  the  Lord  still  mine? 
Who  can  sever  me  from  Him? 
Who  can  rob  me  of  the  heaven 
Which  the  Son  of  God  hath  given 
Unto  faith  though  weak  and  dim? 


Wir  singen  dir,  Emanuel. —  (Goed.  150.) 

\Christmas.] 


[Christmas.] 


Included  in  Crii.  Praxis,  1653,  no.  100  in  16  stanzas  of  4  lines.  In  Ebeling,  1667,  5, 
no.  52,  four  stanzas  were  added  as  IV,  VIII,  IX,  XVII.  The  complete  text  in  20 
stanzas  is  in  Wackernagel:  no.  10;  Bachmann:  no.  42;  Unv.  L.  S.:  1851,  no.  58. 
Cf.  Koch  IV,  136. 

English  Versions: 

1.  Emmanuel,  we  sing  Thy  praise. 

This  translation  of  stanzas  I-III,  V-VII,  XVIII-XX,  appeared  in  the  British  Maga- 
zine, January,  1838,  p.  35.  Repeated,  omitting  the  translation  of  stanza  XIX,  and 
beginning  "Emmanuel,  Thy  name  we  sing,"  in  Kennedy,  1863. 

2.  Immanuel,  we  sing  to  Thee. 

A  translation  of  stanzas  I-III,  V,  by  A.  T.  Russell  in  the  Dalston  Hospital  H.  Bk., 
1848. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY          in 

3.  Immanuel,  we  sing  to  Thee,  Of  life,  etc. 

A  translation  of  stanzas  I-III,  VI,  XX,  based  on  the  earlier  versions,  in  J.  F. 
Thrupp's  Psalms  and  Hymns,  1853,  no.  35. 

4.  Thee,  O  Immanuel,  we  praise. 

A  good  translation  of  stanzas  I-III,  V-VII,  XVIII-XX,  by  Miss  Winkworth,  in  her 
Lyra  Ger.,  First  Series,  1855,  p.  28.  In  her  2d  ed.,  1856,  p.  24,  she  added  a  translation 
of  stanza  IX,  and  thus  in  her  C.  B.  for  England,  1863,  no.  35.  Repeated,  abridged,  in 
the  Hyl.  for  St.  John's,  Aberdeen,  1870,  and  Flett's  Collection,  Paisley,  1871 ;  and 
beginning  "With  all  Thy  saints,  Thee,  Lord,  we  sing"  (stanza  II),  in  Boardman's 
Selections,  Philadelphia,  1861. 

5.  We  sing  to  Thee,  Emmanuel,  The  Prince,  etc. 

A  good  translation  of  stanzas  I-III,  V-VII,  XVIII-XX,  by  Miss  Cox,  contributed  to 
Lyra  Mcssianica,  1864,  p.  55,  and  in  her  own  Hymns  from  the  German,  1864,  p.  35. 
In  Schaff's  Christ  in  Song,  1869,  p.  56,  it  is  in  full,  and  in  Jellicoe's  Collection,  1867, 
omitting  the  translation  of  stanza  V.  In  the  Amer.  Bapt.  Hy.  &  Tune  Bk,,  1871,  it 
begins,  'All  glory,  worship,  thanks  and  praise"  (stanzas  II,  III,  XIX,  XX). 

6.  We  sing  to  Thee,  Immanuel!   Thou  Prince  of  Life. 

A  translation  of  stanzas  I,  II,  XIX,  XX,  signed  "F.  C.  C,"  as  no.  26  in  Dr.  Pagen- 
stecher's  Collection,  1864. 

7.  We  sing  to  Thee,  Immanuel,  Thou  Prince  of  Life. 

As  no.  109  in  part  III,  1748,  of  the  Moravian  H.  Bk.  (1754,  part  I,  no.  436). 

8.  Immanuel,  to  Thee  we  sing,  Thou  Prince,  etc. 

L.  E.  Schlecht,  in  the  Moravian  H.  Bk.,  1789,  no.  45  (1886,  no.  45). 

9.  Immanuel!   Thy  praise  we  sing. 

Miss  Fry,  1859,  p.  163. 

10.  To  Thee,  Immanuel,  we  sing,  The  Prince,  etc. 

Miss  Manington,  1864,  p.  36. 

11.  Immanuel!    to  Thee  we  sing,  The  Fount. 

/.  Kelly,  1867,  P-  37- 

Few  of  the  English  versions  of  German  hymns  which  appear  in  the  old 
Moravian  hymn  books  rise  above  a  mediocre  grade;  many  on  account  of 
their  crudity  deserve  only  passing  mention,  others  are  interesting  merely  by 
way  of  comparison  with  later  renderings.  The  editions  up  to  that  of  1886 
published  no  authors'  names  and  it  is  now  largely  a  matter  of  conjecture 
as  to  who  may  have  written  these  earlier  versions.  Rarely  did  the  translators 
succeed  in  giving  even  a  fair  impression  of  the  original,  and  we  suspect  that 
imperfect  knowledge  of  the  exact  meaning  of  the  German  or  even  indiffer- 
ence to  the  effect  their  versions  produced  may  too  often  have  been  the  cause 
of  the  crude  and  even  grotesque  language. 

The  translator. of  this  Christmas  hymn  has,  however,  been  a  notable 
exception ;  choosing  from  Gerhardt's  discursive  strophes  the  most  significant 
ideas,  he  has  developed  a  poem  of  seven  stanzas  superior  to  most  contem- 


,ia  PAUL  GERHARDT  AS  A  HYMN  WRITER 

porary  hymns  from  the  German.      The  correspondence  of  strophes  is  as 
follows : 

Gerhardt:  I        II        VII  VI        VII  VIII        VI  IX        XI        XX 

Mor.Hy.Bk.:        123  4  5  6 

Especially  happy  are  the  epithets  in  lines  3  and  4 : 

Du  Himmelsblum  und  Morgenstern,  Thou  Morning-star,  thou  Eden's  Flow'r 

Du  Jungfrausohn  Herr  aller  Herrn.  The  Lord  of  Lords,  whom  Mary  bore! 

The  modern  reader  will  enjoy  the  orthography  in  the  lines: 

Dost  thou  a  stranger  chusc  to  be  (stanza  3), 
and      Thou  cloathest  all  (stanza  3). 

though  he  will  recoil  at  the  pronunciation  of  the  first  two  lines  of  stanza  5 : 

Thou  in  a  manger  ly'st  with  beasts, 
There  thou  a  little  Infant  rest'st. 

Stanza  6,  a  free  paraphrase  of  stanza  XI  in  the  original,  reproduces 
admirably  the  childlike  confidence  with  which  Gerhardt  writes.  The  trans- 
lator appreciates  keenly  the  personal  tone  which  pervades  the  poem  when 

he  sings: 

I  thank  thee,  loving  Lamb !    that  thou 
On  my  account  didst  stoop  so  low ; 
And  as  thy  Spirit  gives  me  grace, 
I'll  be  thy  Servant,  if  thou  please. 

In  her  Chorale  Book  and  set  to  the  old  tune  "Erschienen  ist  der  herrlich 
Tag,"60  Miss  Winkworth  gives  the  following  arrangement  of  her  ten-stanza 
version : 

Gerhardt:  I        II        III        V        VI        IX        VII        XVIII        XIX        XX 

Winkworth:          1234567  8  9  10 

Stanza  9  shows  how  successfully  she  can  imitate  Gerhardt's  simplicity  and 
fervor ;  even  the  alliteration  finds  a  partial  correspondence  in  her  third  line : 

Gerhardt  (stanza  XIX).  Winkworth  (stanza  9). 

Du  bist  mein  Haupt ;   hinwiederum  Thou  art  my  Head,  my  Lord  Divine, 

Bin  ich  dein  Glied  und  Eigentum  I  am  Thy  member,  wholly  Thine, 

Und  will,  so  viel  dein  Geist  mir  gibt,  And  in  Thy  Spirit's  strength  would  still 

Stets  dienen  dir,  wie  dirs  geliebt.  Serve  Thee  according  to  Thy  will. 

So  also  in  stanza  10  (Gerhardt  XX)  for  Gerhardt's  favorite  expression 
"fur  und  fur"  we  find  a  very  happy  equivalent,  and  also  an  exact  rhyme 
which  the  German  lacks : 

"By  Nicolaus  Heermann  (d.  1560). 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY          113 

Gerhardt  (stanza  XX).  Winkworth  (stanza  10). 

Ich  will  dein  Alleluja  hier  Thus  will  I  sing  Thy  praises  here 

Mil  Freuden  singen  fur  und  fur,  With  joyful  spirit  year  by  year; 

Und  dort  in  deinem  Ehrensaal  And  they  shall  sound  before  thy  throne, 

Soils  schallen  ohne  Zeit  und  Zahl.  Where  time  nor  number  more  are  known. 

Miss  Cox,  whose  translation  of  Gellert's  Easter  hymn 

Jesus  lives,  thy  terror  now 
Can  no  longer,  Death,  appal  us, 

is  so  well  known,  has  given  us  one  of  the  best  modern  versions  of  this 
Christmas  hymn  of  Gerhardt's.     Her  stanzas  correspond  as  follows : 

Gerhardt:        I        II        III        V        VI        VII        XVIII        XIX        XX 
Cox:  123456  7  89 

Miss  Cox  makes  a  less  personal  appeal  to  the  worshipper  and  thereby 
loses  much  that  is  so  excellent  and  characteristic  of  Gerhardt;  instead  of 
keeping  the  pronoun  in  the  singular,  "So  fasz  ich"  (stanza  XVIII)  "Du 
bist  mein  Haupt"  (stanza  XIX)  and  ''Ich  will  dein  Alleluja"  (stanza  XX), 
she  has  respectively  "Our  love  grows  bold,"  "Thou  art  our  Head,"  and 
"Our  hallelujahs."  If  her  poem  is  rather  more  polished,  Gerhardt's  is  cer- 
tainly the  more  direct,  as  witness  these  stanzas : 

Gerhardt  (stanza  VII).  Cox  (stanza  6). 

Du  kehrst  in  fremder  Hausung  ein,  Thou  who  both  heaven  and  earth  dost  sway, 

Und  sind  doch  alle  Himmel  dein ;  In  strangers'  inn  are  fain  to  stay ; 

Trinkst  Milch  aus  deiner  Mutter  Brust  And  though  thy  power  makes  angels  blest, 

Und  bist  doch  selbst  der  Engel  Lust.  Dost  seek  thy  food  from  human  breast. 

The  concluding  stanza  is  inferior  to  the  others  and  suffers  by  comparison 
with  the  excellent  lines  of  Miss  Winkworth  cited  above :  it  is  a  very  free 
paraphrase  and  leaves  the  impression  of  having  been  hastily  constructed: 

As  each  short  year  goes  quickly  round, 
Our  hallelujahs  shall  resound; 
And  when  we  reckon  years  no  more, 
May  we  in  heaven  thy  name  adore ! 

Selected  Stansas: 

From  the  Moravian  Hymn  Book,  1754. 

Stanza  i.      We  sing  to  thee  Immanuel ! 

Thou  Prince  of  life,  salvation's  well ! 
Thou  Morning-star,  thou  Eden's  Flow'r 
The  Lord  of  Lords  whom  Mary  bore! 

Hallelujah. 


,,4  PAUL  GERHARDT  AS  A  HYMN  WRITER 

Stanza  2.      We  sing  thee  'midst  thy  chosen  race 

With  all  our  strength  we  give  thee  praise ; 
That  thou  so  long  expected  guest 
Didst  come  to  visit  us  at  last. 

Frances  Elizabeth  Cox,  1864,  in  the  Schaff-Gilman  Library  of  Religious 

Poetry. 

Stanza  I.      We  sing  to  thee,  Emmanuel, 

The  Prince  of  life,  salvation's  well, 
The  plant  of  heaven,  the  star  of  morn, 
The  Lord  of  Lords,  the  virgin-born! 

Stanza  2.      All  glory,  worship,  thanks,  and  praise, 
That  thou  art  come  in  these  our  days ! 
Thou  heavenly  guest,  expected  long, 
We  hail  thee  with  a  joyful  song. 

Miss  Winkworth  in  her  Lyra  Germanica,  1865,  p.  24. 

i.     Thee,  O  Immanuel,  we  praise, 

The  Prince  of  Life,  and  Fount  of  Grace, 
The  Morning  Star,  the  Heavenly  Flower, 
The  Virgin's  Son,  the  Lord  of  Power ! 

With  all  Thy  saints,  Thee,  Lord,  we  sing, 
Praise,  honour,  thanks  to  Thee  we  bring, 
That  Thou,  O  long-expected  guest, 
Hast  come  at  last  to  make  us  blest ! 

E'er  since  the  world  began  to  be, 
How  many  a  heart  hath  longed  for  Thee ; 
Long  years  our  fathers  hoped  of  old 
Their  eyes  might  yet  Thy  Light  behold. 

Befiehl  du  deine  Wege.— (Gocd.  185.) 
[Trust  in  God.] 

Appeared  in  Crii.  Praxis,  1656,  no.  333;  Wackernagel:  no.  66;  Bachmann:  no.  72 
in  12  stanzas  of  8  lines;  Unv.  L.  S.:  1851,  no.  620. 

Lauxmann,  in  Koch  VIII,  392,  calls  this  hymn  "the  most  comforting  of 
all  the  hymns  that  have  resounded  on  Paulus  Gerhardt's  golden  lyre,  sweeter 
to  many  souls  than  honey  and  the  honey-comb."  It  is  an  acrostic  on 
Luther's  version  of  Psalm  XXXVII,  5,  "Befiehl  dem  Herren  deine  Wege 
und  hoffe  auf  ihn,  er  wirds  wohl  machen,"  formed  by  the  initial  words  of 
the  stanzas,  those  of  the  Wackernagel  edition  being  printed  in  blacker  type. 
This  acrostic  form  has  been  preserved  by  Jacobi  and  Stallybrass. 

According  to  tradition  Gerhardt  wrote  the  hymn  in  a  Saxon  village  to 
console  his  wife  after  they  had  been  compelled  to  leave  Berlin.  But  the 
hymn  was  printed  as  early  as  1653,  and  although  Gerhardt  had  to  give  up 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY          115 

his  position  in  i666,61  he  did  not  leave  Berlin  until  his  appointment  to  Lub- 
ben  in  1669,  while  his  wife  died  in  Berlin  in  1668.  Hence  there  appear  to 
be  two  good  reasons  for  discrediting  this  story.  We  must  assume,  there- 
fore, that  the  hymn  was  written  during  the  Mittenwalde  period  when  as  yet 
he  could  have  had  no  thought  of  a  position  in  Berlin.  The  perfection  of  the 
hymn  is  strikingly  evinced  by  the  fact  that  it  soon  spread  through  Germany, 
finding  its  way  into  all  hymn  books  and  ranking  as  one  of  the  finest  hymns 
of  its  class.  Lauxmann  relates  that  it  was  sung  when  the  foundation  stone 
of  the  first  Lutheran  church  at  Philadelphia  was  laid,  May  2,  1743,  and 
again  on  October  20,  when  Muhlenberg,  the  father  of  the  American 
Lutheran  Church,  held  the  opening  service. 

English  Versions: 

1.  Commit  thou  all  thy  griefs. 

A  very  free  but  spirited  rendering  omitting  stanzas  V,  IX-XI,  by  J.  Wesley  in  his 
Hymns  and  Sacred  Poems,  1739  (P.  Works,  1869-72,  vol.  I,  p.  125),  in  8  stanzas  of 
8  lines.  Wesley  has  here  caught,  far  more  successfully  than  any  other,  the  real  ring 
and  spirit  of  Gerhardt.  His  translation  has  been  included  in  many  hymn  books  and 
collections,  and  has  come  into  very  extended  use,  but  generally  abridged.  In  the 
United  Presb.  H.  Bk.,  1852,  it  began  "To  God  commit  thy  griefs."  It  is  also  found 
under  these  headings : 

(a)  Thou  on  the  Lord  rely  (stanza  III). 

(b)  Thy  everlasting  truth  (stanza  V). 

(c)  Give  to  the  winds  thy  fears   (stanza  IX).     (This  is  the  heading  under  which 

it  appears  in  most  American  hymnals.     Cf.  p.  202.) 

(d)  O  cast  away  thy  fears   (stanza  IX  altered). 

(e)  Through  waves  and  clouds  and  storms  (stanza  X). 

(f)  Leave  to  his  sovereign  sway  (stanza  XIII). 

(g)  Thou  seest  our  weakness,  Lord  (stanza  XV). 
(h)   Put  thou  thy  trust  in  God. 

This  last  is  a  greatly  altered  cento  with  the  stanza  arrangement  as  follows : 

Wesley:  III  I  III  V 

Cento :  1234 

In  this  form  also  it  has  appeared  in  many  hymnals. 

2.  Commit  thy  way,  confiding. 

A  complete  translation  by  Dr.  H.  Mills  in  the  Evang.  Review,  Gettysburg,  July,  1849, 
and  his  Horae  Ger.,  1856,  p.  172.  His  stanzas  I,  II,  VI,  XII,  were  included  in  the 
Lutheran  General  Synod's  Hymns,  1852,  and  I,  II,  V,  VI,  XI,  XII,  in  the  Ohio  Luth 
Hymnal,  1880. 

3.  Thy  way  and  all  thy  sorrows, 
Give  thou  into  His  hand. 

A  complete  translation  by  Rev.  A.  T.  Russell  as  no.  233  in  his  Psalms  and  Hymns, 
1851,  in  3  parts.  Part  II  begins  "In  vain  the  powers  of  darkness  /  Thy  will,  O  God, 

91  Cf.  p.  4  f- 


n6  PAUL  GERHARDT  AS  A  HYMN  WRITER 

oppose":    (Gerhardt's  stanza  V).     Part  III    (Gerhardt's   stanza  IX)    begins   "Awhile 
his  consolation  /  He  will  to  thee  deny." 

4.  Commit  thy  way  to  God. 

A  translation  omitting  stanzas  IX,  X,  XII,  by  Mrs.  Charles  in  her  Voice  of  Christian 
Life  in  Song,  1858,  p.  239.  A  cento  of  her  version  (Gerhardt's  stanzas  I,  II,  VI,  VIII, 
XI)  appears  as  no.  138  in  Jellicoe's  Collection,  1867,  and  another  cento  (Gerhardt's 
I,  VI-VIII,  XI)  appears  as  no.  283  in  Bishop  Kyle's  Collection,  1860. 

5.  Commit  thy  way,  O  weeper. 

A  free  paraphrase  in  6  stanzas  of  4  lines  by  J.  S.  Stallybrass  for  the  Tonic-Solfa 
Reporter,  July,  1857,  repeated  in  Curwen's  Child's  Own  H.  Bk.,  1862  and  1874. 

6.  Commit  thou  every  sorrow,  And  care. 

A  translation  of  stanzas  I-III,  XII,  by  Miss  Borthwick  in  Dr.  Pagenstecher's  Collec- 
tion, 1864,  no.  240. 

7.  Commit  thy  Ways  and  Goings. 

/.  C.  Jacobi,  1720,  1722,  1732. 

8.  Commit  thou  thy  each  grievance. 

In  part  I  of  the  Moravian  H.  Bk.,  1754  and  1849. 

9.  Commit  thy  ways,  thy  sorrows. 

Mrs.  Stanley  Carr  in  her  translation  of  Wildenhahn's  Paul  Gerhardt,  1845  and  1856. 

10.  Commit  thy  secret  grief. 

Miss  Dunn,  1857,  p.  89. 

n.    Commend  thy  way,  O  mortal. 

In  Madame  de  Pontes's  Poets  and  Poetry  of  Germany,  1858,  vol.  I,  p.  424. 

12.  Commit  thou  all  thy  ways,  and  all. 

Mrs.  Bcvan,  1859,  P-  124, 

13.  Commit  thy  way  unto  the  Lord,  thy  heavy. 

Dr.  R.  P.  Dunn  in  Sacred  Lyrics  from  the  German,  Philadelphia,  1859,  p.  85. 

14.  To  God  thy  way  commending. 

Miss  Cox,  1864,  p.  161  ;   and  in  the  Gilman-Schaff  Lib.  of  Rel.  Poetry,  1883,  p.  510. 

15.  Commit  whatever  grieves  thee. 

/.  Kelly,  1867,  P-  225. 

1 6.  Commit  thy  way,  O  weeping. 

Dr.  J.  Guthrie  in  his  Sacred  Lyrics,  1869,  p.  92. 
17-    Commit  the  way  before  thee, 

N.  L.  Frothingham,  1870,  p.  164. 
18.     Commit  thy  course  and  keeping, 
trart"'  J°hn  CainiS>  °'  I85°'  bUt  ^^  published  in  Edinburgh,  1881,  as  an  eight-page 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY          117 

In  the  interesting  and  now  very  rare  old  Psalmodia  Germanica62  com- 
piled and  edited  by  J.  C.  Jacobi  there  are  three  of  Gerhardt's  hymns — "Wie 
soil  ich  dich  empfangen,"  "Wach  auf,  mein  Herz,  und  singe,"  and  "Befiehl 
du  deine  Wege."  The  book  is  dedicated  to 

"Their  Royal  Highnesses, 

Princess  ANNE 
Pincess  AMALIA, 
(sic!) 

AND 
Princess  CAROLINA," 

and  in  one  paragraph  of  this  dedication  we  read : 

"As  a  sincere  Desire  to  promote  Divine  Psalmody  has  prompted  me  to 
this  Translation;  so  I  presume  to  address  the  same,  such  as  it  is  to  YOUR 
ROYAL  HIGHNESSES,  for  no  other  End  than  to  promote  thereby 
the  Singing  the  Praises  of  our  blessed  Redeemer" ;  etc. 

In  most  cases  facing  the  beginning  page  of  the  hymns  is  an  inserted  leaf 
(not  numbered)  containing  the  traditional  melody  unharmonized.  It  is  a 
reasonably  safe  conjecture  that  these  books  of  Jacobi  were  among  the  very 
first  printed  copies  of  anglicized  German  hymns,  and  the  historical  value 
and  interest  of  the  books  themselves  as  well  as  the  versions  they  contain 
cannot  be  overestimated. 

The  version  of  "Befiehl  du  deine  Wege"  is  so  free  a  paraphrase,  com- 
bining, as  it  does,  in  the  five  stanzas  ideas  from  the  twelve  of  the  original, 
and  introducing  new  elements  altogether,  that  except  for  the  first  and  fifth 
strophes  it  is  difficult  to  connect  the  themes  definitely  with  any  particular 
lines  in  Gerhardt's  poem.  The  correspondence  seems,  however,  to  be 
approximately  as  follows : 

Jacobi:  I  II  III  IV  V 

Gerhardt:  i  25  7  7348    10  12 

Which  line  of  Gerhardt  suggests  the  injunction  "Shake  off  that  yoke  of 
Hell"  (2,  6)  is  not  clear:  possibly  here  Jacobi  had  in  mind  the  scriptural 
passage  (Psalm  XXXVII,  5,  ff.)  where  in  verse  8  we  read  "Cease  from 
anger,  and  forsake  wrath."  Stanza  4 : 

And  he  shall  clear  the  Dullness 
That  sits  upon  thy  Mind 

82 1st  ed.  1720,  later  eds.  in  1722  and  1732.  Through  the  kindness  of  the  Hartford 
Theological  Seminary  Library  it  was  the  privilege  of  the  writer  to  have  access  to  the 
1722  edition. 


1,8  PAUL  GERHARDT  AS  A  HYMN  WRITER 

perhaps  finds  its  basis  in  stanza  VII : 


or  in  stanza  VIII : 


.    .     .     was  das  Herze 
Betrubt  und  traurig  macht ! 


Wann  Er    .     .     . 

Das  Werk  hinausgefiihret, 

Das  dich  bekummert  hat. 


To  conclude  his  hymn,  Jacobi  again,  as  in  strophe  2,  dwells  upon  the 
punishment  for  sin,  entirely  an  interpolation  of  his  own,  with  no  bearing 
on  the  original  whatever: 

Redeem  us  all  together 

From  Sin,  World,  Death,  and  Hell. 

Finally  it  must  be  said  that  for  the  modern  reader  this  version  must  seem 
little  more  than  a  distorted  paraphrase,  made  still  further  difficult  of  inter- 
pretation and  appreciation  through  the  use  of  words  far  more  remote  from 
our  modern  English  than  is  the  German  vernacular  of  the  seventeenth 
century  from  the  modern  German.  Phrases  such  as : 


and 


His  Fatherly  Dilection 

is  never  at  a  stand  (3,  lines  7  and  8) 


Our  Life  and  Conversation 

Lead  by  Thy  Holy  Hand  (5,  lines  5  and  6) 


seem  not  well  calculated  to  carry  out  the  hope  that  the  translator  utters  on 
the  last  page  of  his   "dedication": 

"If  the  Lover  of  Psalmody,  can  find  in  these  Hymns  an  edifying  Sunday's 
Entertainment,  which,  it  seems,  has  hitherto  been  too  much  wanting  in 
Abundance  of  Families,  the  Translator  will  think  his  Time  well  bestow'd, 

u 

In  another  chapter**3  mention  has  been  made  of  the  relation  of  John  and 
Charles  Wesley  to  the  Moravians.  It  is  altogether  probable  that  it  was  the 
singing  of  this  hymn  with  its  reference  to  winds  and  seas  that  first  appealed 
to  these  Englishmen  when  on  their  voyage  to  America  on  the  same  vessel 
with  a  company  of  Moravians.  John  Wesley's  version  (1739)  is  the  second 
of  the  three  earliest  translations  of  this  hymn  which  has  come  into  such 
extensive  use  both  in  Germany  and  English-speaking  lands.  A  number  of 
changes  have  been  made  by  the  translator,  but  in  general  the  main  features 

63  Cf.  p.  31. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY          119 

are  quite  faithfully  reflected.  Firstly  he  has  divided  the  8-line  strophes  into 
quatrains,  has  disregarded  the  feminine  rhymes  of  lines  i  and  3  and  changed 
to  iambic  tetrameter  the  original  iambic  trimeter  ending  in  a  feminine 
rhyme.  These  variations  enable  him  often  to  introduce  an  additional 
thought,  e.  g.  in  line  3  "To  his  sure  truth  and  tender  care,"  where  in  Ger- 
hardt  there  is  only  the  idea  of  "faithful  care."  Again  he  profits  by  being 
able  better  to  express  in  English  the  more  pithy  German;  for  example,  in 
stanza  14:  "When  fully  he  the  work  hath  wrought"  reproduces  very 
acceptably  the  idea  contained  in  the  compound  "hinausgefuhrt." 

Omitting  stanza  V  Wesley  gives  a  free  but  spirited  version  of  the  stanza 
beginning 

Hoff,  O  du  arme  Seele 

Hoff  und  sei  unverzagt     .     .     . 
as 

Give  to  the  winds  thy  fears 

Hope  and  be  undismayed 

God  hears  thy  sighs  and  counts  thy  tears 

God  shall  lift  up  thy  head.64 

Omitting  also  stanzas  IX-XI  inclusive,  in  which  the  original  emphasizes 
or  repeats  in  sameness  of  strain  the  thoughts  of  the  earlier  part  of  the  poem, 
Wesley  offers  in  his  final  strophe  a  strong  conclusion,  though  he  departs 
from  the  idea  of  Gerhardt's  theme  of  distress  for  which  termination  is 
besought,  and  dwells  upon  the  weakness  to  which  man  is  prone.  While 
Gerhardt  asks  to  be  guided  to  Heaven,  to  be  entrusted  ("empfohlen")  to 
God's  care,  which  one  would  expect  for  the  appropriate  conclusion  of  a 
poem  beginning  "Befiehl  du  deine  Wege,"  Wesley  prays  only  that  God's 
children  may  remember  His  care : 

Let  us,  in  life,  in  death, 
Thy  steadfast  truth  declare 
And  publish,  with  our  latest  breath, 
Thy  love  and  guardian  care ! 

The  nearest  date  that  can  be  set  for  the  other  early  English  translation 
of  this  most  famous  of  Gerhardt's  hymns  is  1754  in  the  Moravian  Hymn 
Book  of  that  year  where  it  appeared  without  the  name  of  the  author.  It  is 
very  likely  the  work  of  the  editor  himself,  Dr.  J.  Gambold ;  for  it  has  many 
of  the  characteristics  of  other  hastily  made  translations  in  his  collection  of 
"German  Hymns  in  the  Seventeenth  Century."  Many  of  the  hymns  of  the 
early  and  exuberant  development  of  Moravian  hymnody  seem  at  first  sight 
like  a  highly-colored  and  almost  morbid  growth  that  had  been  grafted  from 
without  upon  the  stem  of  English  church  song.  If  the  immediate  impres- 

C4  Cf .  p.  124. 


PAUL  GERHARDT  AS  A  HYMN  WRITER 

sion  this  version  makes  is  that  of  foreignness  owing  to  its  phraseology,03 
it  must  be  remembered  that  in  reality  these  efforts  are  part  of  a  new  develop- 
ment of  a  real  spiritual  life,  at  first  perverted  into  fantastic  forms,  but 
certainly  capable  of  culture  and  ultimately  becoming  a  characteristic  and 
permanent  type  of  English  hymn.  An  unbiassed  critic  must  concede  that 
the  whole  atmosphere  of  this  hymn  in  spite  of  its  crudity  is  still  that  of 
childlike  simplicity  and  tender  devotion  to  Christ. 

The  author  has  rendered  all  stanzas  but  the  fifth  ("Und  ob  gleich  alle 
Teufel,"  etc.),  omitting  this  possibly  because  Wesley  before  him  (1739)  had 
omitted  it.  The  stanza  is  not  far  inferior  to  its  prototype,  stanza  III66  of 
Luther's  "Ein'  feste  Burg,"  and  would  seem  worthy  of  being  included. 
The  diction  of  the  concluding  lines  shows  evidently  the  influence  of  Wesley, 
who,  as  has  been  seen,  departs  here  widely  from  the  idea  of  Gerhardt. 

Wesley  has: 

Let  us,  in  life,  in  death, 

Thy  steadfast  truth  declare, 

And  publish,  with  our  latest  breath, 

Thy  love  and  guardian  care ! 

The  Moravian  version  reads : 

Till,  and  beyond  death's  valley 
Let  us  thy  Truth  declare 
Yea  then  emphatically 
Boast  of  thy  Guardian  care. 

Miss  Cox  preserves  the  eight-line  form  and  the  original  metre  in  her 
complete  translation  of  the  twelve  stanzas.  Taken  as  a  whole  her  appeal 
is  far  less  direct  than  Wesley's,  her  sentences  and  the  ideas  contained  in 
them  being  much  more  involved.  On  the  other  hand,  in  the  very  first 
quatrain  her  word  "Trust"  gives  the  keynote  of  the  whole  poem  at  once,  a 
touch  that  the  original  certainly  contains  and  which  no  other  translator  has 
successfully  reproduced  in  the  first  stanza.  Strophe  IX  wrhich  is  among 
those  passed  over  by  Wesley  finds  here  a  good  English  parallel  in  what 
appears  to  be  a  well-studied  rendering : 

Gerhardt :     Er  wird  zwar  eine  Weile 

Mit  seinem  Trost  verziehen     .     .     . 

85  Cf.  Stanza  2.      Rely  on  God  who  good  is 

Fix  on  his  work  thy  notice. 
Stanza  8.      Sometimes  he  his  Assistance 

Does  not  directly  show. 
Stanza  9.      When  least  thou  hop'st  that  Favour 

He  extricate  thee  will. 
M  Und  wenn  die  Welt  voll  Teufel  war 
Und  wollt  uns  gar  verschlingen.  etc. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY          121 

Cox :     Awhile,  perchance  to  try  thee, 
He  seems  to  hear  thee  not, 
All  comfort  to  deny  thee, 
As  if  thou  wert  forgot ;     .     .     . 

But  undeniably  the  closest  parallel,  showing  too  that  she  was  at  home 
in  both  languages,  is  the  concluding  stanza.  Where  others  fail  her  transla- 
tion here  excels  in  that  it  follows  the  idea  which  Gerhardt  emphasizes 
throughout  the  poem,  that  of  the  heart  trusting67  in  God : 

End  if  thou  wilt  our  sorrow, 
And  our  probation  close ; 
Till  then  we  fain  would  borrow 
Strength  to  support  life's  woes : 
To  thee  our  way  commending, 
Whose  wisdom  orders  best, 
We  tread  the  pathway  tending 
To  heaven's  eternal  rest. 

Much  of  the  native  beauty  and  lyric  grace  of  this  charming  hymn  is  to 
be  found  in  one  of  the  less  well  known  translations — that  of  Dr.  John 
Guthrie  (1869).  He  very  appropriately  designates  the  hymn  "The  Tri- 
umph of  Trust,"  and  seems  to  have  divined  Gerhardt's  meaning  and  use 
of  "Trost"68  as  being  that  comfort  which  has  its  source  in  Trust  and  Faith. 
Note  Guthrie's  treatment  of  this  theme  in  stanza  2 : 

Trust  him  and  soon  with  wonder 
His  goodness  shalt  thou  see 
.     .     .     Tis  faith  and  prayer  and  waiting 
That  draw  the  blessing  down. 

or  again  in  stanza  8  where  the  true   "Stimmung"    is  present: 

Trust  Him  to  guard  and  guide  thee, 

And  bid  thy  troubles  flee 

Trust  Him,  whate'er  betide  thee     .     .     . 

Not  as  successful  in  the  concluding  quatrain  as  Miss  Cox,  but  neverthe- 
less sensible  of  what  Gerhardt  intended  to  be  the  closing  theme,  as  has  been 
noted  already,  Dr.  Guthrie  gives  us  this  couplet: 

That  on  thy  care  depending, 

We  heavenward  still  may  go,     .     .     . 

Dr.  John  Kelly's  version  adheres  more  closely  than  any  other  to  the  metre 
and  language,  but  it  would  be  impossible  by  this  means  to  popularize  for  the 

87  Lasz     .     .     .     uns     .     .     .     deiner  Pflege    .     .     .     empfohlen  sein   (stanza  XII). 

88  For  a  discussion  of  Gerhardt's  use  of  the  word   "Trost"   cf.  p.  22. 


122 


PAUL  GERHARDT  AS  A  HYMN  WRITER 


English  reader  Gerhardt's  poetry.  The  translator's  effects  are  altogether 
too  labored,  as  is  apparent  in  stanza  2  where  the  only  virtue  is  the  very 
doubtful  one  of  the  retention  of  the  feminine  rhyme : 

The  Lord  thou  must  repose  on 
If  thou  wouldst  prosper  sure, 
His  work  must  ever  gaze  on 
If  thine  is  to  endure. 

Throughout  the  poem  occurs  the  same  defect,  a  forcing  of  the  rhyme: 

evil  graciously  misery 

cavil  early  see  may  we 

In  the  last  quatrain  Kelly  fails,  as  do  the  other  translators,  to  bring  out 
Gerhardt's  strong  repetition  of  the  dominating  theme,  ending  with  the  very 

inferior  couplet 

So  come  we  where  prepar'd  for 
Us  is  our  bless'd  abode. 

Another  translation  that,  like  Kelly's  is  somewhat  ultra-faithful  to  the 
original  metres  is  that  of  Dr.  A.  T.  Russell  (1851).  He  has  divided  the 
hymn  into  three  separate  poems : 

Part  I,  stanzas  I,  II,  III,  IV. 
Part  II,  stanzas  V,  VI,  VII,  VIII. 
Part  III,  stanzas  IX,  X,  XI,  XII. 

In  the  very  passage  where  others  have  made  their  poorest  offering  Rus- 
sell has  been  unusually  successful,  namely  in  the  last  quatrain  of  stanza  II 
("Mit  Sorgen  und  mit  Gramen,"  etc.)  : 

God  yieldeth  nought  to  sorrow 
And  self-tormenting  care : 
Nought,  nought  with  Him  availeth ; — 
No  power  save  that  of  prayer. 

He  has  obtained  literality  in  a  marked  degree  in  the  fourth  stanza  as  a 
close  examination  will  show  : 

Weg  hast  du  allerwegen,  Thy  way  is  ever  open ; 

An  Mitteln  fehlt  dirs  nicht ;  Thou  dost  on  nought  depend ; 

Dein  Thun  ist  lauter  Segen,  Thine  act  is  only  blessing; 

Dein  Gang  ist  lauter  Licht,  Thy  path  light  without  end, 

Dein  Werk  kann  niemand  hindern,  Thy  work  can  no  man  hinder, 

Dein  Arbeit  darf  nicht  ruhn,  Thy  purpose  none  can  stay, 

Wann  du,  was  deinen  Kindern  Since  Thou  to  bless  Thy  children 

Ersprieszlich  ist,  willst  thun.  Through  all  dost  make  a  way. 

The  success  is  plainly  due  to  the  fortunate  choice  of  Anglo-Saxon  equiv- 
alents and  the  coincidence  of  verse  accent  and  important  words.  Con- 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY          123 

trast  with  this  in  Miss  Cox's  otherwise  good  translation  her  only  poor 
stanza,  all  but  unintelligible  to  modern  readers  through  the  use  of  the 
obsolete  word  "let"  (line  6)  for  "hindrance." 

Stanza  4.      Resources  rich  possessing, 
That  love  still  finds  a  way, 
Thy  every  act  a  blessing, 
Thy  pathway  cloudless  day ; 
In  one  unbroken  tissue, 
Which  no  let  e'er  withstood, 
It  brings  to  happy  issue 
Plans  for  thy  children's  good. 

It  is  unfortunate  that  a  version  so  excellent  in  other  respects  should 
include  this  wide  departure  from  the  fervor  and  whole-heartedness  of 
Gerhardt. 

One  final  observation  is  interesting  that  in  his  last  strophe  Russell  offers 
a  compromise  between  Wesley's  interpretation  and  that  of  Miss  Cox : 

Thy  truth  and  Thy  protection 
Forevermore  we  pray : 
With  these  in  heavenly  glory 
Shall  end  our  certain  way. 

This  prayer  for  protection  is  closer  to  Gerhardt's  lines  and  therefore  bet- 
ter than  Wesley's  bold  paraphrase,  but  it  falls  far  short  of  the  simple  and 
forceful  conclusion  of  Miss  Cox : 

To  Thee  our  way  commending, 
Whose  wisdom  orders  best, 
We  tread  the  pathway  tending 
To  heaven's  eternal  rest. 

Selected  Stanzas: 

].  C.  Jacobi  in  Psalmodla  Germanica,  1722. 

I. 

Commit  thy  Ways  and  Goings, 

And  all  that  grieves  thy  Soul. 

To  him,  whose  wisest  Doings 

Rule  all  without  Controul : 

He  makes  the  Times  and  Seasons 

Revolve  from  Year  to  Year 

And  knows  Ways,  Means,  and  Reasons 

When  Help  shall  best  appear. 

(Note:  In  the  wording  accompanying  the  musical  score  the  second  line  reads  "And 
all  what  grieves  thy  Soul.") 


I24  PAUL  GERHARDT  AS  A  HYMN  WRITER 

J.  Wesley,  1739,  in  the  Schaff-Gilman  Library  of  Religious  Poetry. 

I. 

Commit  thou  all  thy  griefs 
And  ways  into  his  hands, 
To  his  sure  truth  and  tender  care, 
Who  earth  and  heaven  commands. 

II. 

Who  points  the  clouds  their  course, 
Whom  winds  and  seas  obey, 
He  shall  direct  thy  wandering  feet, 
He  shall  prepare  thy  way. 

The  cento  given  in  most  American  hymnals : 

Stanza  i.      Give  to  the  winds  thy  fears ; 
Hope,  and  be  undismayed ; 
God  hears  thy  sighs  and  counts  thy  tears; 
God  shall  lift  up  thy  Head. 

Stanza  2.      Through  waves  and  clouds  and  storms, 
He  gently  clears  thy  way; 
Wait  thou  His  time,  so  shall  this  night 
Soon  end  in  joyous  day. 

Stanza  3.      What  though  thou  rulest  not, 
Yet  heaven  and  earth  and  hell 
Proclaim,  God  sitteth  on  the  throne, 
And  ruleth  all  things  well. 

Stanza  4.      Far,  far  above  thy  thought 
His  counsel  shall  appear, 
When  fully  He  the  work  hath  wrought 
That  caused  thy  needless  fear. 

In  the  Moravian  Hymn  Book,  1754  (by  Gambold,  himself?). 

Stanza  i.      Commit  thou  thy  each  grievance 
And  Case  into  his  Hands, 
To  his  sure  Care  and  guidance, 
Who  heav'n  and  earth  commands  : 
He  who's  the  Clouds  Director, 
Whom  Winds  and  seas  obey, 
He'll  be  thy  feet's  Protector, 
He  shall  prepare  thy  Way. 

(Note:   the  orthography  of  the  Moravian  Hymn  Book  has  been  retained.) 
A.  T.  Russell,  in  his  Psalms  and  Hymns,  1851. 

Stanza  i.      Thy  way  and  all  thy  sorrows, 
Give  thou  into  His  hand, — 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY          125 

His  gracious  care  unfailing, 
Who  doth  the  heavens  command. 
Their  course  and  path  He  giveth 
To  clouds  and  air  and  wind : 
A  way  thy  feet  may  follow, 
He  too  for  Thee  will  find. 

H.  Mills,  1856,  in  his  Horae  Germanicae. 

Stanza  I.       Commit  Thy  way,  confiding, 
When  trials  here  arise, 
To  Him  whose  hand  is  guiding 
The  tumults  of  the  skies : 
There,  clouds  and  tempests  raging, 
Have  each  its  path  assign'd, — 
Will  God  for  thee  engaging, 
No  way  of  safety  find? 

Frances  Elizabeth  Cox,  1864,  in  the  Schaff-Gilman  Library  of  Religious 
Poetry. 

I. 

To  God  Thy  way  commending 

Trust  him  whose  arm  of  might, 

The  heavenly  circles  bending, 

Guides  every  star  aright : 

The  winds  and  clouds  and  lightning 

By  his  sure  hand  are  led ; 

And  he  will,  dark  shades  brightening, 

Show  thee  what  path  to  tread. 

J.  Kelly,  1867,  in  his  Paul  Gerhardt's  Spiritual  Songs. 

Stanza  I.       Commit  whatever  grieves  thee 
At  heart,  and  all  thy  ways, 
To  Him  who  never  leaves  thee, 
On  whom  creation  stays. 
Who  freest  courses  maketh 
For  clouds,  and  air,  and  wind, 
And  care  who  ever  taketh 
A  path  for  thee  to  find. 

J.  Guthrie,  1869,  in  his  Sacred  Lyrics. 

Stanza  i.       Commit  thy  way,  O  weeping 
And  care-encumbered  soul, 
To  His  all-trusty  keeping, 
Who  guides  the  glowing  pole. 
No  cloud  or  wind  fleets  o'er  thee 
But  God  directs  its  flow ; 
That  God  will  cleave  before  thee 
A  path  wherein  to  go. 


I26  PAUL  GERHARDT  AS  A  HYMN  WRITER 

Mrs.  Charles,  1858,  in  Bishop's  Ryle's  Collection  of  Hymns  and  Spiritual 
Songs,  1883. 

Stanza  i.      Commit  thy  way  to  God ; 

The  weight  which  makes  thee  faint — 
Words  are  to  Him  no  load ! 
To  Him  breathe  thy  complaint. 
He  who  for  winds  and  clouds 
Maketh  a  pathway  free, 
Through  wastes  or  hostile  crowds 
Can  make  a  way  for  thee. 


1st  Gott  fur  mich,  so  trete. —  (Goed.  229.) 
[Trust  in  God.] 

Based  on  Romans,  VIII,  31-39.  Cf.  Koch,  IV,  457-  Included  in  Cru.  Praxis,  1656, 
no.  330;  thence  in  Wackernagel:  no.  63;  Unv.  L.  S.:  no.  418.  Lauxmann,  in  Koch, 
VIII,  408,  quotes  Langbecker:  "This  heroic  hymn  of  Gerhardt's  is  worthy  to  be 
placed  side  by  side  with  Luther's  'Ein'  feste  Burg.' " 

The  poem  was  written  undoubtedly  at  the  time  when  the  Elector,  Freder- 
ick William  of  Brandenburg,  Gerhardt's  sovereign,  threatened  with  his 
severe  displeasure  those  of  the  Lutheran  clergy  who  would  not  sign  a 
declaration69  binding  them  not  to  say  anything  publicly  against  the 
Reformed  party.  To  this,  most  probably,  the  words  of  the  thirteenth  stanza 

refer, 

Kein  Zorn  der  groszen  Fiirsten 
Soil  mir  ein  Hindrung  sein. 

This  hymn,  springing  from  a  heart  full  of  faith  and  courage,  has  gone 
to  the  hearts  of  many,  especially  the  tried  and  afflicted,  cheering  and  encour- 
aging them  in  the  struggles  of  faith.  The  third  stanza  in  particular  has 
often  been  made  a  blessing : 

Der  Grund,  da  ich  mich  griinde, 
1st  Christus  und  sein  Blut;     .     .     . 

A  pious  watchman  in  Berlin  who,  when  calling  the  hours  of  the  night, 
used  to  sing  suitable  verses,  once  sang  these  lines  before  the  house  of  a 
shoemaker,  who  with  some  friends,  just  then  assembled  late  at  night,  was 
in  danger  of  leaving  the  Church  and'  setting  up  a  self-righteous  sect.  The 
well-known  words,  coming  so  unexpectedly,  had  the  desired  effect,  the 
shoemaker  declaring  to  his  friends,  "As  for  me,  I  will  rest  upon  that 

89  Cf.  p.  4. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY          127 

ground  of  Jesus  and  his  blood,  and  not  seek  any  other  master."     The  final 

stanza : 

Mein  Herze  geht  in  Springen 

Und  kann  nicht  traurig  sein,     .     .     . 

has  been  the  dying  song  of  many  a  believing  Christian. 

English  Versions: 

1.  If  God  be  on  my  side. 

A  good  translation  omitting  stanzas  IV-VI,  by  Miss  Winkworth  in  her  Lyra  Ger., 
1855,  p.  130.  Included,  abridged,  in  Holy  Song,  1869,  and  the  Evang.  Hyl.,  1880,  N.  Y. 

Centos  from  this  translation  are: 

(a)  "If  Jesus  be  my  friend"   (stanza  I,  line  5),  in  the  Andover  Sabbath  H.  Bk., 
1858;    Hatfield's  Church  Book,  1872,  etc. 

(b)  "Since  Jesus  is  my  friend"  (stanza  I,  line  5  altered),  in  Robinson's  Songs  for 
the  Sanctuary,  N.  Y.,  1865 ;   Laudes  Domini,  1884,  etc. 

(c)  "Here  I  can  firmly  rest"   (stanza  II),  in  the  Andover  Sabbath  H.  Bk.,  1858; 
Pennsylvanian  Lutheran  Church  Book,  1868. 

2.  If  God  Himself  be  for  me. 

A  good  translation  omitting  stanzas  IV-VI,  X,  by  R.  Massie  in  his  Lyra  Domestica, 
1864,  p.  no;  from  this  are  varying  centos,  e.  g.  Laudes  Domini,  1884,  no.  378  begin- 
ning: "I  build  on  this  foundation"  (stanza  III). 

3.  Is  God  for  me?     I  fear  not. 

A  free  but  spirited  version,  omitting  stanzas  V,  XI,  XII,  by  Mrs.  Bevan  in  her 
Songs  of  Eternal  Life,  1858,  p.  39.  This  version  was  repeated  and  abridged  in  Snepp's 
Songs  of  Grace  and  Glory.  In  Reid's  Praise  Book,  1872,  it  appears  as  three  hymns, 
the  first  as  above;  (2)  "There  is  no  condemnation"  (stanza  VI),  and  (3)  "In 
heaven  is  mine  inheritance"  (stanza  X). 

4.  Is  God  for  me?   t' oppose  me. 

In  full,  by  /.  Kelly,  1867,  p.  208.  The  Ohio  Luth.  Hyl.  includes  a  part  of  this  ver- 
sion, i.  e.  the  translation  of  stanzas  III,  XIV,  XV,  beginning  "My  Faith  securely 
buildeth." 

5.  Is  God  for  me?  what  is  it. 

/.  C.  Jacobi,  1725,  p.  41  (1732,  p.  139).  Included  in  the  Moravian  H.  Book,  1754,  and 
altered  in  Bishop  Ryle's  Collection,  1883.  In  later  editions  it  is  abridged,  beginning 
"Is  God  my  strong  salvation?" 

6.  The  world  may  rise  against  me  round. 

Also  "The  world  may  fall  beneath  my  feet,"  translations  of  stanzas  I  and  XIII, 
by  Mrs.  Stanley  Carr  in  her  translation  of  Wildenhahn's  Paul  Gerhardt,  1845  (1856, 
P-  173). 

7.  If  Christ  is  mine,  then  all  is  mine. 

A  hymn  of  three  stanzas  in  M.  W.  Stryker's  Church  Praise  Book,  1884,  no.  485, 
marked  "Benjamin  Beddome  1776."  Another  cento  is  given  in  Bishop  Ryle's  Hymns 
and  Spiritual  Songs,  1883,  p.  71. 

"If  God  is  mine,  then  present  things." 


i28  PAUL  GERHARDT  AS  A  HYMN  WRITER 

The  earliest  accessible  English  version  is  that  of  Jacobi,  1725,  printed  in 
the  1754  Moravian  Hymn  Book.  The  translations  by  this  author  are 
usually  very  crude  and  painfully  laborious,  but  in  the  present  case,  with  a 
few  notable  exceptions,  he  has  very  well  caught  the  ring  and  spirit  of 
Gerhardt.  Later  compilers  and  publishers  of  hymns  would  of  course  omit 

the  lines: 

"His  Grace  has  cleansed  and  polished 

My  humble  Soul  within."     (stanza  5.) 

and 

"All  this  I  have  digested."     (stanza  12.) 

Like  many  of  the  early  translators  of  German  hymns  Jacobi  is  guilty  of 
frequent  imperfect  rhymes : 

Merit      stanza  4  SPCCtre  stanza  14  *lone        stanza  15 

spirit  conjecture  begun 

If  we  overlook  these  defects  the  version  is  one  of  the  best  that  has 
appeared  so  far  in  English  or  American  hymnals  and  considerably  above 
the  standard70  of  the  Moravian  hymns  of  the  early  eighteenth  century.  The 
following  lines  offer  a  very  true  counterpart  of  the  German : 

"All  woes  give  way  and  flee,"  line  4. 

"And  that  in  Change  and  Chances 
He  stands  at  my  right  hand."    lines  13,  14. 

"The  ground  of  my  possession 
Is  Jesus  and  his  Blood."    lines  17,  18. 

"Should  Earth  lose  its  foundation 
Thou  stand'st  my  lasting  Rock."    lines  97,  98. 

Bishop  Ryle  in  taking  over  this  version  into  his  Hymns  and  Spiritual 
Songs  has  made  a  number  of  alterations,  presenting  a  cento  of  four  stanzas. 
His  stanza  3,  for  example,  is  a  combination  of  Jacobi's  last  quatrain  of 
stanza  9  and  first  quatrain  of  stanza  10: 

Ryle  (stanza  3).  Jacobi  (stanza  9). 

For  me  there  is  provided  And  how  he  hath  provided 

A  city  fair  and  new ;  A  city  new  and  fair 

To  it  I  shall  be  guided ,—  Where  things,  our  Faith  did  credit 

Jerusalem  the  true !  Shall  to  our  eyes  appear. 

(stanza  10.) 

My  portion  there  is  lying,  My  portion  there  is  lying 

A  destined  Canaan  lot ;  A  destin'd  Canaan-lot 

Though  I  am  daily  dying,  Tho'  I  am  daily  dying, 

My  Canaan  withers  not.  My  Heaven  withers  not 

70  Cf.  pp.  30  and  71. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY          129 

American  congregations  are  familiar  with  the  hymn: 

Since  Jesus  is  my  friend 
(H)  (be) 

And  I  to  him  belong    .     .     . 

It  is  often  called  "The  Rest  of  Faith,"  and  is  a  cento  of  Miss  Winkworth's 
very  excellent  version.  Although  she  has  not  preserved  the  metre  of  the 
poem  Miss  Winkworth  has  thoroughly  caught  its  spirit  even  imitating  in 
the  widely  known  last  stanza71  the  sound  sequence  and  alliteration : 

My  heart  for  gladness  springs, 
It  cannot  more  be  sad, 
For  very  joy  it  laughs  and  sings, 
Sees  nought  but  sunshine  glad. 

The  sun  that  glads  mine  eyes 
Is  Christ  the  Lord  I  love, 
I  sing  for  joy  of  that  which  lies 
Stored  up  for  us  above. 

For  free  adaptations  from  this  hymn  cf.  pp.  139  and  136. 
Selected  Stanzas: 

J.  C.  Jacobi  (1725)  in  the  Moravian  Hymn  Book  (ed.  1754). 

Stanza  I.       Is  God  for  me,  what  is  it 
That  Men  can  do  to  me? 
Oft  as  my  God  I  visit, 
All  woes  give  way  and  flee. 
72  If  God  my  Head  and  Master 
Defend  me  from  above, 
What  pain  or  what  disaster 
Can  drive  me  from  his  Love? 

B.  Beddome,  1776,  in  Bishop  Ryle's  Hymns  and  Spiritual  Songs. 

Stanza  i.       If  God  is  mine,  then  present  things 
And  things  to  come  are  mine ; 
Yes  Christ,  His  Word,  and  Spirit  too, 
And  glory  all  divine. 

3.       If  He  is  mine,  I  need  not  fear 
The  rage  of  earth  and  hell ; 

71  Cf.  p.  127. 

72  In  Bishop  Ryle's  collection  the  quatrain  reads : 

If  God  be  my  salvation, 
My  refuge  in  distress 
What  earthly  tribulation 
Can  shake  my  inward  peace? 
9 


,3o  PAUL  GERHARDT  AS  A  HYMN  WRITER 

He  will  support  my  feeble  power 
And  every  foe  repel. 

Miss  Winkworth  in  her  Lyra  Germanica,  1855,  p.  130. 

Stanza  i.      If  God  be  on  my  side, 

Then  let  who  will  oppose 

For  oft  ere  now  to  Him  I  cried 

And  He  hath  quelled  my  foes. 

If  Jesus  be  my  Friend, 

If  God  doth  love  me  well, 

What  matters  all  my  foes  intend, 

Though  strong  they  be  and  fell? 

Here  I  can  firmly  rest, 

I  dare  to  boast  of  this, 

That  God  the  Highest  and  the  Best, 

My  Friend  and  Father  is. 

From  dangerous  snares  He  saves, 

Where'er  He  bids  me  go 

He  checks  the  storms  and  calms  the  waves, 

Nor  lets  aught  work  me  woe. 

I  rest  upon  the  ground 

Of  Jesus  and  His  blood, 

For  'tis  through  Him  that  I  have  found 

The  True  Eternal  God. 

Nought  have  I  of  mine  own, 

Nought  in  the  life  I  lead, 

What  Christ  hath  given  me,  that  alone 

Is  worth  all  love  indeed. 

His  spirit  in  me  dwells, 

O'er  all  my  mind  He  reigns, 

All  care  and  sadness  He  dispels, 

And  soothes  away  all  pains. 

He  prospers  day  by  day 

His  work  within  my  heart, 

Till  I  have  strength  and  faith  to  say, 

Thou  God  my  Father  art ! 

When  weakness  on  me  lies, 
And  tempts  me  to  despair, 
He  speaketh  words  and  utters  sighs 
Of  more  than  mortal  prayer ; 
But  what  no  tongue  can  tell, 
Thou  God  canst  hear  and  see, 
Who  readest  in  the  heart  full  well 
If  aught  there  pleaseth  Thee.     etc. 

Mrs.  Bevan,  1858,  in  Snepp's  Songs  of  Grace  and  Glory,  1872  (abridged 
version). 

Stanza  I.      Is  God  for  me?     I  fear  not,  though  all  against  me  rise; 
When  I  call  on  Christ  my  Savior,  the  host  of  evil  flies ; 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY          131 

My  Friend — the  Lord  Almighty,  and  He  who  loves  me — God, 

What  enemy  shall  harm  me,  though  coming  as  a  flood? 

I  know  it,  I  believe  it,  I  say  it  fearlessly, 

That  God,  the  Highest,  Mightiest,  forever  loveth  me! 

At  all  times,  in  all  places,  He  standeth  by  my  side; 

He  rules  the  battle  fury,  the  tempest  and  the  tide. 

J.  Kelly,  1867,  in  his  Paul  Gerhardt's  Spiritual  Songs. 

A  SONG  OF  CHRISTIAN  CONSOLATION  AND  JOY. 
Stanza  i.       Is  God  for  me?   t'oppose  me 

A  thousand  may  uprise; 

When  I  to  pray'r  arouse  me, 

He'll  chase  mine  enemies. 

And  doth  the  Head  befriend  me, 

Am  I  belov'd  by  God? 

Let  foes  then  rise  to  rend  me, 

The  wild  opposing  brood ! 


Geh  aus,  mein  Herz,  und  suche  Freud. — (Goed.  239.) 73 

This  beautiful  poem  of  thanksgiving  for  the  divine  goodness  in  the  gift  of  the 
delights  of  summer  and  of  anticipation  of  the  joys  of  Paradise  appeared  in  the  1656 
ed.  of  Crii.  Praxis,  no.  412,  in  15  stanzas  of  6  lines.  It  was  also  printed  in  H.  Miiller's 
Geistliche  Seelenmusik,  1659,  and  included  in  Wackernagel:  no.  103;  Bachmann:  no. 
85;  Unv.  L.  S.:  1851,  no.  732.  Cf.  Koch,  IV,  591;  VIII,  141.  Like  Luther,  who 
fondly  loved  nature  and  admired  its  beauties,  Gerhardt  showed  himself  in  this  inspir- 
ing poem  a  real  lover  of  God's  creation. 

English  Versions: 

1.  Go  forth,  my  heart,  and  seek  delight. 

A  good  translation  omitting  stanza  XIV,  by  Miss  Winkworth,  in  the  First  Series 
of  her  Lyra  Ger.,  1855,  p.  136.  Her  translation  of  stanzas  VIII-XI,  beginning  "Thy 
mighty  working,  mighty  God,"  was  included  in  the  American  Sabbath  Hymn  Book, 
1858,  and  repeated  in  Boardman's  Collection,  Philadelphia,  1861. 

2.  The  golden  corn  now  waxes  strong. 

A  good  translation  beginning  with  stanza  VII,  contributed  by  R.  Massie  to  the  1857 
ed.  of  Mercer's  C.  P.  and  H.  Bk.,  no.  463  (1864,  no.  500).  In  the  Appendix  to  the 
Second  Series  of  Lyra  Domestica  Mr.  Massie  reprinted  his  translation  at  page  102, 
and  prefixed  a  version  of  stanzas  I-VI,  beginning  "Go  forth,  my  heart,  nor  linger 
here."  In  this  form  it  appeared  in  full  in  Reid's  Praise  Book,  1872. 

3.  Come  forth,  my  heart,  and  seek  delight. 

Miss  Cox,  1841  and  1864. 

73  Cf .  Friedrich  von  Spee's  hymn :   "Der  triibe  Winter  ist  vorbei" ;  also  the  Volkslied : 
"Herzlich  tut  mich  erfreuen 
Die  frohlich  Sommerzeit." 
and  B.  Ringwald's 

"Gottlob,  es  ist  vorhanden  die  frolich  Sommerzeit." 


,32  PAUL  GERHARDT  AS  A  HYMN  WRITER 

4.  Go  forth,  my  heart,  and  revel  in  joy's  flow. 

Also  "And  oft  I  think,  if  e'en  earth's  sin-stained  ground,"  a  translation  of  stanzas 
I,  IX,  by  Mrs.  Stanley  Carr  in  her  translation  of  Wildenhahn's  Paul  Gerhardt,  1845 
and  1856. 

5.  Go  forth,  my  heart,  and  seek  for  praise. 

Dr.  J.  W.  Alexander,  in  Schaff's  Kirchcnfreund,  1849,  p.  419;  reprinted  in  his  work 
The  Breaking  Crucible,  N.  Y.,  1861,  p.  15. 

6.  Go  out,  my  heart,  and  pleasure  seek. 

Miss  Maningfon,  1863,  p.  164. 

7.  Go  forth,  my  Heart!   the  year's  sweet  prime. 

E.  Massie,  1866,  p.  36. 

8.  Go  forth,  my  heart,  and  seek  delight, 
In  this  summer. 

/.  Kelly,  1867,  p.  289. 
g.    Go  forth,  my  heart,  and  seek  the  bliss. 

Mrs.  E.  L.  Pollen,  in  her  Lark  and  Linnet,  1854,  p.  30. 

10.     Go  out,  my  heart,  and  seek  delight. 

A  good  translation  omitting  stanzas  IV,  V,  VI,  and  XIV,  by  Miss  Margarete  Miins- 
terberg,  in  her  Harvest  of  German  Verse,  1916. 

None  of  Gerhardt's  poetry  has  so  well  lent  itself  to  English  words  as  this 
hymn  of  praise  for  God's  goodness  and  of  contemplation  of  the  joys  in  the 
next  world,  and  the  translators  have  without  exception  reproduced  most 
successfully  the  exquisite  feeling  for  nature  which  Gerhardt  manifests, 
whether  he  be  singing  of  forest  and  brook,  or  of  flowers  and  fields.  Only 
Miss  Winkworth  and  Dr.  Alexander  of  the  four  or  five  prominent  trans- 
lators omit  stanza  XIV,  and  they  do  so  apparently  on  the  ground  that  it 
contains  a  complexity  of  figures.  Dr.  Massie  whose  version  except  for  the 
last  stanza  has  more  truly  poetic  lines  than  any  other  offers  this  paraphrase : 

Make  for  thy  spirit  ample  room, 
That  thus  I  may  forever  bloom. 
Like  plants  which  root  have  taken : 
Oh  let  me  in  thy  garden  be 
A  flourishing  and  righteous  tree, 
Which  never  shall  be  shaken. 

So  well  have  all  the  translators  succeeded  that  it  would  be  perhaps  merely 
a  matter  of  individual  taste  as  to  which  of  the  many  excellent  lines  are 
deserving  of  highest  praise.  Of  stanza  III  Dr.  Massie's  verses  are  both 
more  literal  and  harmonious  than  the  others.  Gerhardt  sings : 

Die  Lerche  schwingt  sich  in  die  Luft, 
Das  Taublein  fleugt  aus  seiner  Kluft 
Und  macht  sich  in  die  Walder. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY          133 

Dr.  Massie  interprets : 

The  lark  mounts  singing  to  the  skies : 
The  dove  forsakes  her  clefts,  and  flies 
To  shady  groves  and  alleys. 

Miss  Winkworth : 

The  lark  soars  singing  into  space, 
The  dove  forsakes  her  hiding-place, 
And  coos  the  woods  among. 

Dr.  Kelly: 

The  lark  aspiring  soars  on  high, 

Flies  from  her  cleft  the  dove  so  shy, 

And  seeks  the  woodland  shadow. 
Dr.  Alexander : 

The  lark  floats  high  before  the  breeze, 

The  dove  toward  the  forest-trees 

From  covert  speeds  along. 

This  last  version  is  marred  by  the  accent's  falling  on  the  unstressed 
syllable  of  "toward"  in  line  2.  Several  of  our  American  hymnals  contain 
the  cento  of  four  stanzas  from  Miss  Winkworth's  version  (Gerhardt  stanzas 
VIII-XI  incl.)  whose  ring  gives  the  freshness  appropriate  in  an  outdoor 
hymn  of  Spring  and  Summer. 

Selected  Stanzas: 

C.  Winkworth,  1855,  in  her  Lyra  Germanica. 

Stanza  i.      Go  forth  my  heart  and  seek  delight 
In  all  the  gifts  of  God's  great  might, 
These  pleasant  summer  hours  : 
Look  how  the  plains  for  thee  and  me 
Have  deck'd  themselves  most  fair  to  see 
All  bright  and  sweet  with  flowers. 

8.  Thy  mighty  working,  mighty  God, 
Wakes  all  my  pow'rs ;    I  look  abroad, 
And  can  no  longer  rest  ; 

I,  too,  must  sing  when  all  things  sing, 
And  from  my  heart  the  praises  ring, 
The  Highest  loveth  best. 

9.  If  Thou  in  Thy  great  love  to  us, 
Wilt  scatter  joy  and  beauty  thus 

O'er  this  poor  earth  of  ours ; 
What  nobler  glories  shall  be  given 
Hereafter  in  Thy  shining  heaven 
Set  round  with  golden  towers ! 

10.      What  thrilling  joy,  when  on  our  sight 
Christ's  garden  beams  in  cloudless  light 
And  rings  with  God's  high  praise; 


,34  PAUL  GERHARDT  AS  A  HYMN  WRITER 

Where  all  the  thousand  seraphim 
In  one  accordant  voice  and  hymn 
Their  Alleluia  raise! 

ii.      O,  were  I  there!    oh,  that  I  now 

Before  Thy  throne,  my  God,  could  bow, 
And  bear  my  heavenly  palm  ! 
Then,  like  the  angels  would  I  raise 
My  voice,  and  sing  thine  endless  praise 
In  many  a  sweet-toned  psalm. 

J.  W.  Alexander,  1849,  in  the  Schaff-Gilman  Library  of  Religious  Poetry. 
Stanza  i.      Go  forth,  my  heart,  and  seek  for  praise, 
On  these  delightsome  summer  days, 

In  what  thy  God  bestows ! 
How  rich  the  garden's  beauties  be, 
How  lavishly  for  me  and  thee 
It  doth  its  charms  disclose! 

R.  Massie,  1863,  in  the  Schaff-Gilman  Library  of  Religious  Poetry. 
Stanza  i.      Go  forth,  my  heart,  nor  linger  here 
In  this  sweet  season  of  the  year, 
When  God  his  gifts  dispenses ; 
See  how  the  gardens  in  their  best 
For  you  and  me  are  gayly  drest, 
And  ravish  all  the  senses  ! 

J.  Kelly,  1867,  in  his  Paul  Gerhardt's  Spiritual  Songs. 

Stanza  i.      Go  forth,  my  heart,  and  seek  delight 
In  this  summer  time  so  bright, 
The  bounties  God  displayeth, 
The  garden's  splendour  go  and  see 
Behold  how  God  for  me  and  thee 
Them  gorgeously  arrayeth. 

Miss  Margarete  Miinsterberg,  in  her  Harvest  of  German  Verse,  1916. 

Stanza  i.      Go  out,  my  heart,  and  seek  delight, 
In  this  dear  summer  time  so  bright, 
In  God's  abundance  daily ; 
The  beauty  of  these  gardens  see, 
And  look,  how  they  for  me  and  thee 
Have  decked  themselves  so  gaily. 


Many  hymn  writers  since  Gerhardt  have  drawn  from  the  same  scriptural 
sources  as  he,  and  it  would  be  presumption  to  attempt  to  prove  that  all  these 
had  received  any  direct  impulse  from  his  verses ;  yet  it  must  be  realized 
that  it  is  to  a  certain  extent  impossible  that  the  conceptions  of  the  hymn 
writers  of  one  age  should  remain  inseparable  from  the  ideas  of  later  poets. 
Bayard  Taylor,  in  speaking  about  what  he  calls  "intellectual  genealogies  in 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY 


literature,"  says :  "Most  authors  may  be  shown  to  be  not  imitators,  but 
the  spiritual  descendants  of  others,  inheriting  more  or  less  of  their 
natures."74  In  the  pages  which  follow  are  cited  some  hymns  containing 
phrases  thoroughly  suggestive  of  Gerhardt's  lines  which  will  contribute 
evidence  in  addition  to  that  already  adduced  to  show  the  prominent  place 
his  works  hold  as  influencing  English  hymn  writing. 


HYMNS  SHOWING  ADAPTATIONS  OF 

GERHARDT'S 

(a)    C.    Wesley   in   Hymns   and   Sacred 
Poems,  1742,  p.  124.   (Cf.  Job.  XIX, 

25-27.) 
Stanza  i. 

I  know  that  my  Redeemer  lives :  I. 

He  lives,  and  on  the  Earth  shall  stand, 

And  tho'  to  Worms  my  Flesh  he  gives 


IDEAS  AND  EXPRESSIONS  FROM 
POEMS. 

"Gerhardt  (Coed.  331). 


My  Dust  lies  numbered  in  His  Hand. 
Stanza  2. 

In  This  Reanimated  Clay 

I  surely  shall  behold  Him  near, 

Shall  see  Him  at  the  Latter  Day 

In  all  His  Majesty  appear. 
Stanza  3. 

I  feel  what  then  shall  raise  me  up, 
Th'  Eternal  Spirit  lives  in  me, 

This  is  my  Confidence  of  Hope 
That  God  I  Face  to  Face  shall  see. 


line 

Ich  weisz,  dasz  mein  Erloser  lebt:  i 

Er  lebt     ...  3 

Er  lebt  fiirwahr,  der  starke  Held,  5 

Das  Fleisch      ...  30 

Wird    ...  31 

zerbrochen   ...  32 

von  Maden  ...  33 

So  wird  er  mich  doch  aus  der  Erd  17 

Hernachmals  auferwecken ;  18 

Ich  selber  werd  in  seinem  Licht  50 

Ihn  sehn  und  mich  erquicken;  51 

Mein  Auge  wird  sein  Angesicht  52 

Mit  groszer  Lust  erblicken;  53 

Er  wird  mich  reiszen  aus  dem  Grab    19 
Sein  Geist  wohnt  mir  im  Herzen 

(no.  229,  49) 
cf.  above  no.  331,  52,  53 


(b)    C.   Wesley   in   Hymns   and   Sacred 

Poems,  p.  180. 
Stanza  i. 

I  know  that  my  Redeemer  lives 

And  ever  prays  for  me 

Stanza  13. 

With  me,  I  know,  Thy  Spirit  dwells, 
(cf.  Wesley,  p.  124,  stanza  3,  line  2 

above.) 


(Coed.  331.) 


Ich  weisz,  dasz  mein  Erloser  lebt. 


Sein  Geist  wohnt  mir  im  Herzen 

(no.  229,  49) 


"*  Studies  in  German  Literature,  1879. 
75  Cf.  p.  81. 


136 


PAUL  GERHARDT  AS  A  HYMN  WRITER 


Stanza  15- 

Jesu,  I  hang  upon  Thy  Word, 

I  stedfastly  believe 

Thou  wilt  return,  and  claim  me,  Lord, 
And  to  Thyself  receive. 
Cf.  also  stanza  23. 

Lord,  I  believe,  and  rest  secure 
In  Confidence  Divine,    .    .    . 


(c) 


C.   Wesley,   in  Hymns   and   Sacred 
Poems,  p.  217. 

I.   Jesu,  my  Savior,  Brother,  Friend 
On  whom  I  cast  my  every  Care, 
On  whom  for  all  things  I  depend, 
Inspire,  and  then  accept  my  Prayer, 

13.  Here  let  my  Soul's  sure  anchor  be 
Here  let  me  fix  my  wishful  Eyes, 


(d)    C.   Wesley   in   Hymns   and   Sacred 

Poems,  p.  146. 
Stanza  i. 

Jesu,  my  Strength,  my  Hope, 

(Cf.  lines  i,  2.) 
On  Thee  I  cast  my  Care, 

(Cf.  lines  51,  52.) 
With  humble  Confidence  look  up 

(Cf.  line  9.) 

And  know  Thou  hearst  my  Prayer. 


(e)  C.  Wesley  in  Wesleyan  Hymn  Book, 
1780,  no.  356. 

O  come  and  dwell  in  me, 
Spirit  of  power  within 
And  bring  thy  glorious  liberty 
From  sorrow,  fear  and  sin ! 

The  inward,  deep  disease 
Spirit  of  health  remove 
Spirit  of  perfect  holiness 
Spirit  of  perfect  love. 


Das  hab  ich  je  und  je  geglaubt 

(no.  331,  43  ff.) 
Und  fasz  ein  fest  Vertrauen, 
Ich  werde  den,  der  ewig  bleibt 
In  meinem  Fleische  schauen ; 


(Coed.  263. )TS 

Jesu,  allerliebster  Bruder, 
Ders  am  besten  mit  mir  meint, 
Du  mein  Anker,  Mast  und  Ruder 
Und  mein  treuster  Herzensfreund ; 

Du  mein  Anker,  Mast  und  Ruder. 

Cf.  line  3  above. 


(Goed.  229. )77 


1st  Gott  fur  mich,  so  trete  i 

Gleich  alles  wider  mich ;  2 

Nun  weisz  und  glaub  ich  feste  Q 

Dasz  Gott,  der  Hochst  und  Beste  n 

Mir  ganzlich  giinstig  sei,  12 
(Sein  Geist)  Vertreibet  Sorg  und 

Schmerzen  51 

Nimmt  alien  Kummer  hin  52 


(Goed.  ill.)78 

Zeuch  ein  zu  deinen  Thoren, 
Sei  meines  Herzens  Cast, 
O  hochgeliebter  Geist. 

Zeuch  ein,  lasz  mich  empfinden 
Und  schmecken  deine  Kraft, 
Die  Kraft,  die  uns  von  Siinden 
Hiilf  und  Errettung  schafft. 
Entsiindige  meinen  Sinn,     .     . 


9ff. 


'Cf.  p.  72. 
Cf.  p.  126. 

'Cf.  p.  52. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY 


That  blessed  law  of  thine 
Father,  to  me,  impart ; 
The  Spirit's  law  of  life  divine, — 
O  write  it  in  my  heart. 

Thy  nature  be  my  law 
Thy  spotless  sanctity 

And  sweetly  every  moment  draw 


My  happy  soul  to  Thee ! 


Du  bist  ein  Geist,  der  lehret 
Wie  man  recht  beten  soil. 


Erfiille  die  Gemiiter 
Mit  reiner  Glaubenszier 

Gib  Freudigkeit  und  Starke 
zu  stehen  in  dem  Streit 

Richt  unser  ganzes  Leben 
Allzeit  nach  deinem  Sinn. 

So  hilf  uns  Frolich  sterben 
Und  nach  dem  Tod  ererben 
Des  ewgen  Lebens  Haus. 


137 
33 

105 

121 
126 


(f)  C.  Wesley  in  Pilgrim  Hymnal,  no.  96. 

From  our  fears  and  sins  release  us 
Israel's  strength  and  consolation 
.     .     .     Joy  of  every  loving  heart. 

Born  to  reign  in  us  forever 
Now  thy  gracious  kingdom  bring. 


(Coed,  in.) 

Entsiindige  meinen  Sinn  13 

Du  bist  ein  Geist  der  Freuden          41  ff. 

.     .     .     Erleuchtest  uns  in  Leiden 

Mit  deines  Trostes  Licht. 

Du,  Herr,  hast  selbst  in  Handen     56  ff. 

Die  ganze  weite  Welt, 

.    .    .     So  gib  doch  deine  Gnad ; 


In  his  Psalms  and  Hymns,  1851,  Rev.  A.  T.  Russell  includes  a  group  of 
hymns  entitled  "The  Sufferings  of  Our  Lord."  One  of  them,  no.  94,  of 
three  stanzas,  bears  such  a  striking  resemblance  to  Gerhardt's  "O  Welt, 
sieh  hier  dein  Leben"79  that  we  should  be  inclined  to  trace  its  source  to  this 
hymn,  though  it  is  signed  merely  with  the  author's  initials  A.  T.  R.  and  is 
offered  as  original : 


Russell  (stanza  i). 
O  World,  behold  Him  dying 
Who  is  thy  life  supplying; 
Behold !     He  dies  for  Thee  : 
He  who  in  glory  reigneth, 
No  scorn,  no  shame  disdaineth, 
From  endless  death  my  soul  to  free. 

Stanza  2. 

Now  from  my  Savior  floweth 
The  blood  His  love  bestoweth 
On  us  that  we  may  live ! 
What  grief  His  spirit  rendeth ! 


Gerhardt  (stanza  i). 
O  Welt,  sich  hier  dein  Leben 
Am  Stamm  des  Kreuzes  schweben ! 
Dein  Heil  sinkt  in  den  Tod ! 
Der  grosze  Fiirst  der  Ehren 
Laszt  willig  sich  beschweren 
Mit  Schlagen,  Hohn  und  groszen  Spott. 


Tritt  her  und  schau  mit  Fleisze: 
Sein  Leib  ist  ganz  mit  Schweisze 
Des  Blutes  iiberfullt  ; 
Aus  seinem  edlen  Herzen 


Cf.  p.  42. 


PAUL  GERHARDT  AS  A  HYMN  WRITER 


Whilst  thus  He  condescendeth 
His  life  for  us  His  foes  to  give. 


Vor  unerschopften  Schmerzen 

Ein  Seufzer  nach  dem  andern  quillt. 


Although  its  second  and  third  lines  are  taken  directly  from  the  Bible,  yet 
stanza  3  as  a  whole  appears  to  be  influenced  by  the  thoughts  in  Gerhardt's 
stanzas  VIII  and  III.  Line  5  might  well  be  regarded  as  a  condensation  of 
the  repeated  ideas  of  confession  and  repentance  in  Gerhardt's  strophes. 
(Cf.  line  19  "ich  und  meine  Siinden";  line  25  "ich  sollte  biiszen"). 


Russell  (stanza  3). 

Of  His  own  will  He  dieth, 
Who  to  His  Father  crieth, 
"O  Father  1  mercy  show :" 


Come,  children  of  transgression 
To  Jesus  make  confession ; 


Your  all  to  His  great  love  you  owe. 


Gerhardt. 

(Lines  43-45-) 

Du  springst  ins  Todes  Rachen, 
Mich  frei  und  los  zu  machen 
Von  solchem  Ungeheur 

(Lines  16  and  17.) 

Du  bist  ja  nicht  ein  Sunder 

Wie  wir  und  unsre  Kinder 

(Line  48.) 

O  unerhortes  Liebesfeur ! 


A  hymn  by  Dr.  Maltbie  D.  Babcock  which  has  been  included  in  several 
American  hymnals  would  indicate  that  while  the  author  may  have  had  before 
him  only  the  scriptural  passage  from  the  Psalms80  as  he  composed  his  verses, 
yet  because  of  the  marked  similarity  of  phraseology  Gerhardt's  hymn 
"Befiehl  du  deine  Wege"  must  have  been  more  or  less  familiar  to  him 
through  the  version  of  Wesley  or  another  translator. 


Rest  in  the  Lord,  my  soul 

Commit  to  him  thy  way 

What  to  thy  sight  seems  dark  as  night 

To  him  is  bright  as  day. 


Rest  in  the  Lord,  my  soul 
He  planned  for  thee  thy  life 
Brings  fruit  from  rain  brings  good 

from  pain 
And  peace  and  joy  from  strife. 

Rest  in  the  Lord,  my  soul: 
This  fretting  weakens  Thee; 


Befiehl  du  deine  Wege 
Und  was  dein  Herze  krankt 


(Lines  9-12.) 

Dem  Herren  muszt  du  trauen, 

Wenn  dirs  soil  wolergehen; 

Auf  sein  Werk  muszt  du  schauen, 

Wenn  dein  Werk  soil  bestehn. 

(Lines  41-48.) 
Hoff,  o  du  arme  Seele, 
Hoff  und  sei  unverzagt 
Gott  wird  dich  aus  der  Hole, 


80  Cf.  Psalm  XXXVII,  5-7,    "Commit  thy  way  unto  the  Lord 
Lord."    Cf.  p.  114  ff. 


Rest  in  the 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY 


'39 


Why  not  be  still?    accept  his  will 


Thou  shalt  his  glory  see. 

Maltbie  D.  Babcock,  in  the 
Pilgrim  Hymnal,  1912. 


Da  dich  der  Kummer  plagt, 
Mit  groszen  Gnaden  riicken: 
Erwarte  nur  die  Zeit, 
So  wirst  du  schon  erblicken 
Die  Sonn  der  schonsten  Freud. 


Wesley's  adaptation81  of  the  thought  in  "1st  Gott  fur  mich,  so  trete"  is 
but  one  of  many  sacred  poems  that  treat  this  theme  of  the  Christian's  Hope. 
A  hymn  now  familiar  to  many  congregations  written  by  James  Mont- 
gomery82 in  1872  and  avowedly  based  on  Psalm  XXVII83  bears  so  strong  a 
resemblance  to  this  poem  of  Gerhardt's  that  two  stanzas  are  here  cited  to 
show  first  the  similarity  of  treatment  of  the  general  subject  of  Faith  in  the 
Power  of  God,  and  particularly  the  marked  traces  of  Gerhardt's  influence 

upon  the  English  verses. 

Gerhardt   (Goed.  229) .M 

1st  Gott  fur  mich,  so  trete  i 

Gleich  alles  wider  mich ;  2 

Was  kann  mir  tun  der  Feinde  7 

Und  Widersacher  Rott?  8 

Mein  Glanz  und  schones  Licht  26 

1st  Gott  fur  mich,  so  trete  i 

Gleich  alles  wider  mich  2 

Und  bin  geliebt  bei  Gott  6 

Nun  weisz  und  glaub  ich  feste,  9 

.     .     .     dasz  ich  finde  19 

Das  ewge  wahre  Gut  20 

Wenn  ich  gleich  fall  und  sterbe  75 
Sein  Geist  spricht  meinem  Geiste 
Manch  siiszes  Trostwort  zu  : 


2. 


God  is  my  strong  salvation : 
What  foe  have  I  to  fear? 
In  darkness  and  temptation 

My  light,  my  help,  is  near. 
Though  hosts  encamp  around  me 
Firm  to  the  fight  I  stand, 
What  terror  can  confound  me 
With  God  at  my  right  hand? 

Place  on  the  Lord  reliance 
My  soul  with  courage  wait 
His  truth  be  thine  affiance, 
When  faint  and  desolate. 
His  might  thine  heart  shall  strengthen 
His  love  thy  joy  increase 
Mercy  thy  days  shall  lengthen 
The  Lord  will  give  thee  peace. 
James  Montgomery,  in  his 
Songs  of  Zion,  1822. 


With  less  direct  influence  than  appears  in  the  hymns  hitherto  mentioned, 
yet  showing  much  of  the  spirit  of    "Auf  den  Nebel  folgt  die  Sonne"85  is 

81  Cf.  p.  136. 

82  Cf.  p.  32. 

88 "The  Lord  is  my  light  and  my  salvation;    whom  shall  I  fear?" 

84  Cf .  p.  126. 

85  Cf.  p.  68. 


140 


PAUL  GERHARDT  AS  A  HYMN  WRITER 


Sarah  Flower  Adams'  hymn,  "He  sendeth  sun,  he  sendeth  shower."  The 
final  line  of  each  stanza  introducing  the  theme  of  Resignation  to  God's 
Will  may  well  have  been  suggested  by  the  refrain  "Was  Gott  gefallt."8 


He  sendeth  sun,  he  sendeth  shower, 
Alike  they're  needful  for  the  flower; 
And  joys  and  tears  alike  are  sent 

To  give  the  soul  fit  nourishment: 
As  comes  to  me  or  cloud  or  sun, 
Father,  thy  will,  not  mine,  be  done! 

Can  loving  children  e'er  reprove 
With  murmurs  whom  they  trust  and 

love? 

Creator,  I  would  ever  be 
A  trusting,  loving  child  to  thee : 
As  comes  to  me  or  cloud  or  sun, 
Father,  thy  will,  not  mine,  be  done! 

Oh,  ne'er  will  I  at  life  repine; 
Enough  that  thou  hast  made  it  mine; 

When  falls  the  shadow  cold  of  death, 
I  yet  will  sing  with  parting  breath 

As  comes  to  me  or  shade  or  sun, 
Father,  thy  will,  not  mine,  be  done. 
Sarah  Flower  Adams,  1841,  in  the 
Schaff-Gilman  Lib.  of  Rel.  Poetry. 


Auf  den  Nebel  folgt  die  Sonne  i 

Auf  das  Trauren  Freud  und  Wonne      2 
Trost  und  Labsal,    .     .    Meine  Seele 

.     .     .     steigt    4,  5 
Hat  mir  meinen  Geist  erquickt,  9 


Gott  laszt  keinen  traurig  stehn  50 

Der  sich  Ihm  zu  eigen  schenkt  52 

Und  Ihn  in  sein  Herze  senkt ;  53 

Wer  auf  Gott  seine  Hoffnung  setzt  54 


Nu,  so  lang  ich  in  der  Welt  85 

Haben  werde  Haus  und  Zelt  86 

.     .     .     Ich  will  all  mein  Leben  lang    89 
.     .     .     Hiefiir  bringen  Lob  und 

Dank.     91 

Ich  will  gehn  in  Angst  und  Not  99 

Ich  will  gehn  bis  in  den  Tod  100 

Ich  will  gehn  ins  Grab  hinein  101 

Und  doch  allzeit  frolich  sein  102 


A  very  familiar  hymn  in  English-speaking  countries  is  Thomas  Rawson 
Taylor's  "I'm  but  a  stranger  here"  written  in  1834.  It  was  published  in 
1836  in  his  Memoirs  and  Select  Remains,  and  headed  "Heaven  is  my 
home.  Air — 'Robin  Adair.'  "  In  America  it  is  usually  sung  to  Arthur  S. 
Sullivan's  "Saint's  Rest."  The  hymn  so  closely  resembles  Gerhardt's 
lines  in  "Ich  bin  ein  Cast  auf  Erden"87  that  the  parallels  are  given  below : 


I'm  but  a  stranger  here; 
Earth  is  a  desert  drear, 

Heaven  is  my  home. 
Danger  and  sorrow  stand 
Round  me  on  every  hand, 
Heaven  is  my  fatherland, 

Heaven  is  my  home. 

86  Cf.  p.  56. 

87  Cf.  p.  74. 


Ich  bin  ein  Gast  auf  Erden 

Was  ist  mein  ganzes  Wesen 
Als  Miih  und  Not  gewesen 

Da  ist  mein  Vaterland 


ii 
4 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY 


141 


2.  What  though  the  tempests  rage, 
Short  is  my  pilgrimage, 

Heaven  is  my  home. 
And  time's  wild  wintry  blast 
Soon  will  be  overpast, 
I  shall  reach  home  at  last 

Heaven  is  my  home. 

3.  There  at  my  Savior's  side, 
I  shall  be  glorified, 

Heaven  is  my  home, 

There  with  the  good  and  blest 
Those  I  loved  most  and  best, 
I  shall  forever  rest; 

Heaven  is  my  home. 

4.  Therefore  I'll  murmur  not, 
Whate'er  my  earthly  lot, 

Heaven  is  my  home. 

For  I  shall  surely  stand 
There  at  my  Lord's  right  hand ; 
Heaven  is  my  fatherland, 
Heaven  is  my  home. 


Mich  hat  auf  meinen  Wegen  17 
Manch  harter  Sturm  erschreckt;          18 

Blitz,  Donner,  Wind  und  Regen  19 

Hat  mir  manch  Angst  erweckt ;  20 

So  will  ich  swar  nun  treiben  57 

Mein  Leben  durch  die  Welt  58 

Doch  denk  ich  nicht  zu  bleiben  59 

In  diesem  fremden  Zelt.  60 

Mein  Heimat  ist  dort  droben,  65 

Da  aller  Engel  Schaar  66 
Den  groszen  Herrscher  loben    .     .      67 

Die  frommen  heilgen  Seelen  41 

Die  giengen  fort  und  fort  42 

Da  will  ich  immer  wohnen,  105 

Bei  denen,  die  mit  Kronen  107 

Du  ausgeschmiicket  hast  108" 

Da  will  ich     ...  109 

In  meinem  Erbteil  ruhn.  112 

Hab  ich  doch  miiszen  leiden  23 

Und  tragen  mit  Geduld,  24 

Es  musz  ja  durchgedrungen  53 

Es  musz  gelitten  sein ;  54 

So  will  ich  zwar  nun  treiben  57 

Mein  Leben  durch  die  Welt.  58 

Cf.  lines  105-112,  above,  quoted  opp. 
stanza  3. 


Other  similarities  to   "Ich  bin  ein  Cast  auf  Erden"   are : 

(a)  'The  Pilgrim,"  by  Sarah  H.  Palfrey,  in  the  Schaff-Gilman  Lib.  Rel. 

Poetry. 

A  Pilgrim  am  I  on  my  way 

To  seek  and  find  the  Holy  Land     .     .     . 

This  poem  would  perhaps  bear  but  slight  resemblance  to  Gerhardt's  were 
it  not  for  the  final  stanza  where  the  element  of  Joy  is  introduced : 

While  Joy  shall  spring 

with  me  through  heaven's  straight  door. 

These  lines  are  certainly  suggestive  of  Gerhardt's  words  in  his  stanza 
XIII: 

Du  aber,  meine  Freude    .    .    .    du  zeuchst  mich    .    .    . 
Ins  Haus  der  ewgen  Wonne. 

(b)  "The  Pilgrim's  song,"  by  H.  F.  Lyte,  in  his  Poems  chiefly  Religious, 
1833  and  1845. 


I42  PAUL  GERHARDT  AS  A  HYMN  WRITER 

Stanza  i.      My  rest  is  in  heaven;   my  rest  is  not  here; 

Then  why  should  I  murmur  when  trials  are  near? 
Be  hushed,  my  dark  spirit !   the  worst  that  can  come 
But  shortens  thy  journey,  and  hastens  thee  home. 

2.      It  is  not  for  me  to  be  seeking  my  bliss 

And  building  my  hopes  in  a  region  like  this : 
I  look  for  a  city  which  hands  have  not  piled ; 
I  pant  for  a  country  by  sin  undefiled.  .  .  . 

4.  Afflictions  may  damp  me,  they  cannot  destroy; 

One  glimpse  of  thy  love  turns  them  all  into  joy:     .     .     . 

5.  Let  doubt  then,  and  danger,  my  progress  oppose ; 

They  only  make  heaven  more  sweet  at  the  close.     .     .     . 

6.  A  scrip  on  my  back,  and  a  staff  in  my  hand, 
/  march  on  in  haste  through  an  enemy's  land: 
The  road  may  be  rough,  but  it  cannot  be  long; 

And  I'll  smooth  it  with  hope  and  I'll  cheer  it  with  song. 

Although  Lyte  based  his  hymn  on  Hebrews  IV,  9,  "There  remaineth 
therefore  a  rest  to  the  people  of  God,"  he  treats  in  his  concluding  stanza 
the  additional  theme  of  hope  and  cheer  which,  as  has  been  seen,88  was  a 
constant  and  favorite  topic  with  Gerhardt.  Since  this  chapter  of  Hebrews 
has  no  direct  reference  to  this  theme  we  have  good  reason  to  assume  that 
from  the  striking  similarity  of  language  of  the  two  hymns  Lyte  was  influ- 
enced by  Gerhardt's  "Ich  bin  ein  Cast  auf  Erden."  Especially  in  stanza 
VII  is  the  likeness  most  noticeable : 

So  will  ich  zwar  nun  treiben 

Mein  Leben  durch  die  Welt, 

Doch  denk  ich  nicht  zu  bleiben 

In  diesem  fremden  Zelt.     (Cf.  Lyte  stanza  6.) 

Ich  wandre  meine  Straszen, 

Die  zu  der  Heimat  fuhrt,     (Cf.  Lyte  stanza  i.) 

Da  mich  ohn  alle  Maszen 

Mein  Vater  trosten  wird.     (Cf.  Lyte  stanza  5.) 

(c)  "In  exile  here  we  wander,"  by  W.  Cooke.  [Septuagesima.]  This 
hymn  appeared  in  the  Hymnary,  1872,  under  the  signature  "A.  C.  C."  (i.  e., 
"A  Canon  of  Chester"),  and  is  definitely  known  to  have  been  suggested  to 
Canon  Cooke  by  Gerhardt's  hymn.  In  Thring's  Collection,  1882,  stanza 
III,  lines  4-8  is  altered  to : 

And  we  shall  rise  in  that  great  day 

In  bodies  like  to  Thine 

And  with  Thy  saints  in  bright  array,     (Cf.  lines  65,  66.) 

Shall  in  Thy  glory  shine.     (Cf.  line  104.) 

88  Cf.  p.  22. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY          143 

There  are  of  course  numerous  adaptations  of  Gerhardt's  work  which 
have  less  merit  than  those  which  have  been  mentioned,  but  it  would  be 
beyond  the  scope  of  this  thesis  to  discuss  them.  From  our  consideration  up 
to  this  point  we  may  draw  the  following1  conclusions :  many  translators  have 
taken  the  liberty  of  altering  the  original  versions  thereby  injuring  perhaps 
just  those  hymns  possessed  of  the  greatest  warmth  and  vigor  and  have  in 
this  way  prevented  our  poet  from  being  more  fully  acknowledged;  at  the 
same  time  the  best  of  his  hymns  as  devotional  lyrics  with  a  pathos  and 
sympathy  which  are  exceptionally  beautiful  and  powerful  have  become 
naturalized  in  English-speaking  countries  by  the  really  good  translations 
and  will  always  serve  to  enkindle  devotion  and  strengthen  grace  in  the 
true  Christian  worshipper. 

FINIS. 


APPENDIX 

SHORT  BIOGRAPHICAL  SKETCHES  OF  TRANSLATORS 

Alexander,  James  Waddell,  D.D.,  born  1804,  graduated  at  Princeton,  1820,  and  was 
successively  Professor  of  Rhetoric  at  Princeton,  Pastor  in  New  York,  Professor  of 
Church  History,  Princeton,  and  Pastor  of  the  Fifth  Avenue  Presbyterian  Church, 
New  York.  He  died  in  1859.  His  works  include  some  translations  published  about 
two  years  after  his  death,  under  the  title  The  Breaking  Crucible  and  other  Transla- 
tions. Of  these  translations  the  most  noted  is  "O  Sacred  Head  now  Wounded." 
He  has  translated  nos.  25,  49,  239-1 

Beddome,  Benjamin,  M.A.  This  prolific  hymn  writer  was  born  at  Henley-in-Arden, 
Warwickshire,  January  23,  1717,  where  his  father  was  at  that  time  Baptist  minister. 
He  was  apprenticed  to  a  surgeon  in  Bristol,  but  removing  to  London,  he  joined  in 
1739  the  Baptist  Church,  and  became  one  of  the  most  respected  Baptist  ministers  in 
England.  In  1770  he  received  the  degree  of  M.A.  from  Rhode  Island  College,2  Provi- 
dence. He  died  September  3,  1795.  It  was  his  practice  to  prepare  a  hymn  every  week 
to  be  sung  after  his  Sunday  morning  sermon.  Many  of  these  found  their  way  into 
the  General  Baptist  Hymn  Book  of  1793,  and  other  collections.  His  popularity  is  now 
mainly  in  America.  He  has  translated  no.  64. 

Bevan,  Emma  Frances,  nee  Shuttleworth,  born  at  Oxford,  1827.  Mrs.  Bevan  pub- 
lished in  1858  a  series  of  translations  from  the  German  as  Songs  of  Eternal  Life 
(London)  which  are  above  the  average  in  merit.  She  has  translated  nos.  185  and  229. 

Borthwick,  Jane,  born  1813  at  Edinburgh.  Together  with  her  sister,  Mrs.  Findlater 
(q.  v.),  she  translated  from  the  German  Hymns  from  the  Land  of  Luther  in  four  series. 
These  translations  have  attained  great  success  and  hardly  a  hymnal  in  England  or 
America  has  appeared  without  containing  some  of  them.  Under  the  signature  of 
"H.  L.  L."  Miss  Borthwick  has  written  various  prose  works  and  contributed  many 
original  poems  to  the  Family  Treasury  and  to  other  collections.  She  has  translated 
nos.  185  and  284. 

Buckoll,  Henry  James,  M.A.,  born  1803.  He  was  educated  at  Rugby  and  Queen's 
College,  Oxford,  graduating  in  1826.  He  took  Holy  Orders  in  1827  and  died  at  Rugby 
in  1871.  In  1839  he  edited  a  Collection  of  Hymns  for  the  Rugby  Parish  Church,  and 
in  1850  compiled  a  new  edition  of  the  Collection  for  the  Rugby  School  Chapel.  That 
collection  contains  14  of  his  hymns,  a  few  of  which  were  translations  from  the  Latin 
and  German.  His  Hymns  translated  from  the  German  was  published  1832.  He  has 
translated  nos.  59,  60,  106. 

Burns,  James  Drummond,  M.A.,  born  at  Edinburgh,  1823,  and  educated  at  Edin- 
burgh University.  In  1855  he  became  minister  of  Hampstead  Presbyterian  Church, 
London.  He  died  in  1864.  Among  his  hymns  which  have  become  widely  popular  are 
39  translations  from  the  German  which  appeared  in  the  Family  Treasury.  They  are 
rendered  exactly  in  the  meters  of  the  originals  and  many  had  not  previously  been 
translated.  He  has  translated  no.  71. 

The  numbers  refer  to  the  page  on  which  the  poem  begins  in  the  Goedeke  text. 
The  early  name  of  Brown  University. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY          145 

Charles,  Elizabeth,  nee  Rundle,  born  in  Devonshire,  the  author-  of  numerous  and 
popular  works  on  the  early  Christian  life  in  Great  Britain,  of  Luther  and  his  times 
and  of  Wesley  and  his  work.  She  has  made  some  valuable  contributions  to  hymnody, 
including  original  hymns  and  translations  from  the  Latin  and  German.  They  appeared 
in  The  Voice  of  Christian  Life  in  Song,  1858.  She  has  translated  nos.  68,  142,  185. 

Cox,  Frances  Elizabeth,  born  at  Oxford,  well  known  as  the  translator  of  hymns  from 
the  German.  Her  translations  were  published  as  Sacred  Hymns  from  the  German, 
London,  ist  ed.,  1841,  containing  49  translations  printed  with  the  original  text  together 
with  biographical  notes  on  the  German  authors.  In  the  2d  ed.,  1864,  the  number  was 
increased  to  56.  She  has  translated  nos.  60,  67,  68,  in,  118,  150,  185,  239,  293. 

Dunn,  Catherine  Hannah,  born  at  Nottingham,  England,  1815,  died  1863.  In  1857 
she  published  a  little  volume  of  36  Hymns  from  the  German.  She  has  translated  nos. 
49,  60,  68,  89,  in,  139,  185,  293. 

Findlater,  Mrs.  (Sarah  Borthwick)  born  1823,  sister  of  Miss  Jane  Borthwick  (q.  v.). 
She  has  translated  nos.  60,  89,  139. 

Frothingham,  Nathaniel  Langdon,  D.D.,  born  at  Boston,  1793,  and  graduated  at 
Harvard,  1811,  where  he  was  also  sometime  Tutor.  From  1815  to  1850  he  was  Pastor 
of  the  First  Church  (Unitarian),  Boston.  He  died  in  1870.  His  Metrical  Pieces  were 
published  in  1855  and  1870.  He  has  translated  nos.  59,  74,  122,  155,  185,  274. 

Gambold,  John,  M.A.,  was  born  1711,  graduated  at  Christ  Church,  Oxford,  B.A. 
1730,  M.A.  1734.  Taking  Holy  Orders,  he  became,  about  1739,  Vicar  of  Stanton  Har- 
court,  Oxfordshire,  but  resigned  1742  and  joined  the  United  Brethren  (Moravians) 
by  whom  he  was  chosen  one  of  their  bishops  in  1754.  He  died  in  1771.  About  26 
translations  and  18  original  hymns  in  the  Moravian  Hymn  Book  are  assigned  to  him. 
One  or  two  of  his  hymns,  which  were  published  by  the  Wesleys,  have  been  claimed  for 
them,  but  the  evidence  is  in  favor  of  Gambold.  A  collected  edition  of  his  works  was 
published  at  Bath  in  1789,  and  afterwards  reprinted.  He  has  translated  nos.  49,  68,  71. 

Guthrie,  John,  D.D.,  born  1814,  graduated  Edinburgh  M.A.  1835.  Sympathizing  with 
the  views  of  Dr.  James  Morison  he  was  deposed  from  his  pastorate  and  joined  with 
Dr.  Morison  in  forming  the  Evangelical  Union,  compiling  in  1856  their  hymn  book. 
In  1869  he  published  Sacred  Lyrics;  Hymns  original  and  translated  from  the  German, 
with  versions  of  Psalms.  London,  1869.  Many  of  these  hymns  have  much  beauty  and 
sweetness.  He  has  translated  nos.  60,  68,  71,  100,  185. 

Jackson,  Samuel  Macauley,  from  1876  to  1880  pastor  at  Norwood,  New  Jersey, 
was  born  in  1851.  He  graduated  from  the  College  of  the  City  of  New  York  in  1870 
and  from  Union  Theological  Seminary  in  1873,  after  which  he  spent  two  years  in 
travel,  visiting  Europe  and  the  East.  He  was  editor-in-chief  of  the  New  Schaff- 
Herzog  Encyclopaedia  of  Religious  Knowledge,  and  the  author  of  Huldreich  Zwingli 
(Heroes  of  the  Reformation  Series),  1901,  1903;  Zwingli  Selections,  1901.  He  has 
translated  no.  49. 

Jacobi,  John  Christian,  a  native  of  Germany,  was  born  in  1670,  and  appointed 
Keeper  of  the  Royal  German  Chapel,  St.  James's  Palace,  London,  about  1708.  He 
held  that  post  for  42  years  and  died  in  1750.  Among  his  publications  are  Psalmodia 
Germanica  .  .  .  translated  from  High  Dutch.3  He  has  translated  nos.  25,  59,  76, 
in,  185,  229,  235. 

8  In  the  XVIIIth  Century  this  term  was  current  for    "High  German." 
10 


,46  PAUL  GERHARDT  AS  A  HYMN  WRITER 

Kelly,  John,  educated  at  Glasgow  University,  studied  theology  at  Bonn,  New  Col- 
lege, Edinburgh,  and  the  Theological  College  of  the  English  Presbyterian  Church. 
His 'translations  of  Gerhardt's  Spiritual  Songs  were  published  in  1867.  His  Hymns  of 
the  Present  Century  from  the  German  was  published  in  1886.  He  has  translated  nos. 
3,  7,  15,  17,  !9>  23,  25,  28,  49,  59,  60,  62,  65,  67,  68,  71,  74,  ?8,  80,  81,  83,  89,  91,  93,  95, 
loo,' 106,  108,  118,  120,  122,  124,  130,  135,  139,  142,  150,  153,  155,  158,  161,  171,  173,  176, 

178*   185,  200,  205,  209,  212,  217,  220,  224,  226,  229,  232,  235,  239,  260,  263,   267,   271,   274, 

284!  287,  289,  293,  296,  302,  304,  310,  312,  315,  319,  324. 

Kennedy,  Benjamin  Hall,  D.D.,  born  1804,  and  educated  at  St.  John's  College,  Cam- 
bridge, B.A.  1827.  He  was  later  Professor  of  Greek  in  Cambridge  University,  and 
took  Holy  Orders  in  1829.  Besides  several  textbooks  of  the  classics  he  published  The 
Psalter,  1860,  and  also  Hymnologia  Christiana,  1863,  which  included  numerous  trans- 
lations from  the  German. 

Manington,  Alice,  born  at  Brighton,  and  later  lived  at  Vienna.  She  published  two 
sets  of  translations  from  the  German,  in  1863,  and  1864.  She  has  translated  nos.  25, 
60,  118,  150,  153,  158,  239,  312,  331. 

Massie,  Edward,  M.A.,  was  educated  at  Wadham  College,  Oxford;  B.A.  1830, 
M.A.  1834.  He  took  Holy  Orders  in  1830.  He  published  in  1862  A  Few  Hymns  for 
Occasional  Use  in  the  Services  of  the  Church,  and  Sacred  Odes,  1866  and  1867.  The 
latter  contain  many  translations  from  the  German.  He  has  translated  nos.  19,  59,  118, 
155,  239,  293  (2  versions). 

Massie,  Richard,  born  1800.  He  published  a  translation  of  Martin  Luther's  Spiritual 
Songs,  London,  1854,  also  Lyra  Domcstica,  1860.  In  1864  he  published  vol.  II  which 
has  an  "Appendix"  of  translations  of  German  hymns  by  various  authors.  He  also 
contributed  many  translations  of  German  hymns  to  Mercer's  Church  Psalter  and 
Hymn  Book,  to  Reid's  British  Herald  and  other  periodicals.  He  has  translated  nos. 
19,  25,  46,  47,  49,  1 08,  161,  176,  229,  235,  239,  293,  312. 

Mills,  Henry,  D.D.,  born  at  Morristown,  N.  J.,  1786,  and  graduated  from  Princeton 
in  1802.  At  the  opening  of  the  Auburn  Theological  Seminary  in  1821  he  was  appointed 
Professor  of  Biblical  Criticism  and  Oriental  Languages  from  which  he  retired  in 
1854.  He  died  at  Auburn  in  1867.  In  1845  he  published  Horae  Germanicae;  A  Ver- 
sion of  German  Hymns.  This  was  enlarged  in  1856.  He  has  translated  nos.  81,  161, 
185,  235,  304. 

Molther,  Philipp  Heinrich,  born  in  Alsace,  1714.  At  Jena,  where  he  studied  theology, 
he  joined  the  (Moravian)  Brethren  in  1737,  and  went  to  London  1739.  He  was  minis- 
ter of  the  Brethren's  congregation  at  Neuwied  from  1750  to  1761,  and  spent  the  rest 
of  his  life  1762-1780  in  Dublin  and  Bedford.  In  1775  he  was  consecrated  as  bishop  of 
the  Brethren's  Unity.  He  has  translated  nos.  71,  155,  256. 

Montgomery,  James,  born  1771.     His  early  years  covered  a  varied  experience  as 

bookseller,  auctioneer,   printer's   assistant.      He  became   editor   of   the   Sheffield   Iris 

and  continued  this  work  for  thirty-one  years.     He  was  twice  imprisoned  in  the  next 

two  years  for  items  which  appeared  in  the  columns  of  the  Iris.     He  edited  many 

poetical  works,  among  them  Original  Hymns  for  Public,  Private  and  Social  Devotion, 

B53,  The  Christian  Psalmist,  1825,  and  Songs  of  Zion,  1822.     Cf.  pp.  31,  32,  139. 

Russell,  Arthur  Tozer,  M.A.,  born  1806,  educated  at  Manchester  College,  York,  and 

Fohn's  College,  Cambridge.     In  1829  he  was  ordained  by  the  bishop  of  Lincoln.     He 

ie  author  of  many  works  covering  a  wide  range  of  subjects  of  a  religious  nature, 

his  original  hymns  and  translations  have  found  their  way  into  many  hymnals     In 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY          147 

1848  various  of  his  own  hymns,  original  and  translated  from  the  German,  appeared 
in  Hymns  for  Public  Worship,  and  in  1851  appeared  Psalms  and  Hymns.  He  died  in 
1874.  He  has  translated  nos.  25,  40,  68,  150,  155,  158,  185,  209,  312. 

Stallybrass,  James  Steven,  born  in  Siberia  in  1826,  the  son  of  Rev.  E.  Stallybrass 
of  the  London  Missionary  Society.  He  died  in  London  in  1888.  He  was  well  known 
as  an  educationist,  and  translated  from  the  German  a  number  of  scientific  works.  He 
also  contributed  many  translations  of  German  hymns  and  poems  to  the  various  publica- 
tions of  Mr.  Curwen,  e.  g.  The  Sabbath  Hymnbook.  He  has  translated  nos.  60,  185. 

Stryker,  Melancthon  Woolsey,  D.D.,  born  in  1851,  graduated  at  Hamilton  College 
1872  and  Auburn  Theological  Seminary  1876.  He  has  held  pastorates  at  Auburn, 
Ithaca,  Holyoke  and  Chicago,  and  has  edited  six  works  on  hymns,-  contributing  many 
original  hymns  and  several  translations.  He  was  President  of  Hamilton  College  1892- 
1917.  He  has  translated  nos.  155,  235. 

Thring,  Edward,  M.A.,  brother  of  Godfrey  Thring,  was  born  1821,  and  educated 
at  King's  College,  Cambridge,  B.A.  1844.  He  became  Head  Master  of  Uppingham 
School  in  1853  and  held  this  position  until  his  death  in  1887.  He  was  the  author  of 
several  important  works  for  schools  and  colleges  and  the  joint  editor  of  a  hymn  book 
to  which  he  contributed  some  translations  from  the  German.  He  has  translated  no.  60. 

Warner,  Anna,  born  near  New  York  City  about  1822.  She  is  the  author  of  the 
novel  Say  and  Seal,  1859.  She  edited  Hymns  of  the  Church  Militant,  1858;  and 
published  Wayfaring  Hymns,  Original  and  Translated,  1869.  She  has  translated  no.  89. 

Wesley,  Charles,  the  great  hymn  writer  of  the  Wesley  family,  perhaps  the  great 
hymn  writer  of  all  ages,  no  less  than  6500  hymns  being  ascribed  to  him.  He  was  the 
youngest  son  and  i8th  child  of  Samuel  and  Susanna  Wesley  and  was  born  at 
Epworth  Rectory  December  18,  1/07,  receiving  his  education  at  Westminster  School 
and  Christ  Church,  Oxford.  He  became  one  of  the  first  band  of  Oxford  Methodists, 
and  went  in  1735  with  his  brother  John  to  Georgia  as  Secretary  to  Gen.  Oglethorpe. 
His  stay  there  was  very  short ;  he  returned  to  England  1736  and  shortly  afterward 
came  under  the  influence  of  Count  Zinzendorf  and  the  Moravians.  His  headquarters 
were  at  Bristol  till  1771  when  he  moved  to  London  devoting  there  much  time  to  the 
spiritual  care  of  the  prisoners  in  Newgate.  He  died  in  1788.  Cf.  p.  31. 

Wesley,  John,  born  at  Epworth  Rectory  in  1703.  He  was  educated  at  Christ  Church, 
Oxford,  and  in  1729  became  director  of  the  little  band  of  "Oxford  Methodists."  In 
*735  he  went  as  a  missionary  of  the  Society  for  the  Propagation  of  the  Gospel  to 
Georgia  where  a  new  colony  had  been  founded  under  the  governorship  of  Gen.  Ogle- 
thorpe. On  his  voyage  he  was  deeply  impressed  with  the  piety  and  Christian  courage 
of  some  German  fellow  travellers,  Moravians.  During  his  short  ministry  in  Georgia 
he  met  with  many  discouragements  and  returned  home  much  dissatisfied.  In  London 
he  again  fell  in  with  the  Moravians  and  from  now  on  he  labored  to  spread  what  he 
believed  to  be  the  everlasting  gospel,  travelling,  preaching  and  making  converts.  He 
died  at  the  age  of  88  in  the  year  1791.  The  part  which  he  actually  took  in  writing  the 
many  hymns  ascribed  to  the  two  brothers  John  and  Charles  is  difficult  to  ascertain, 
but  it  is  reasonably  certain  that  more  than  thirty  translations  from  the  German,  French, 
and  Spanish,  chiefly  from  the  German,  were  exclusively  his  and  although  somewhat 
free  they  embody  the  fire  and  energy  of  the  originals  and  have  had  a  wide  circulation. 
He  has  translated  nos.  71,  185,  200. 

Winkworth,  Catherine,  born  in  London  in  1829.  She  took  always  a  deep  and  active 
interest  in  the  educational  work  in  connection  with  the  "Clifton  Association  for  the 
Higher  Education  of  Women"  and  kindred  societies.  She  published  (i)  Lyra  Ger- 


J48  PAUL  GERHARDT  AS  A  HYMN  WRITER 

tnanica,  ist  Series  1855;  (2)  Lyra  Germanica,  2d  Series  1858;  (3)  The  Chorale  Book 
for  England  (containing  translations  from  the  German,  together  with  music),  1863; 
and  (4)  Christian  Singers  of  Germany,  1869.  Although  not  the  earliest  of  modern 
translators  from  the  German  into  English,  Miss  Winkworth  is  surely  the  foremost  in 
rank  and  popularity.  Her  translations  are  the  most  widely  used  of  any  from  the 
German  and  have  had  more  to  do  with  the  modern  revival  of  the  English  use  of 
German  hymns  than  have  the  versions  of  any  other  writer.  She  has  translated  nos. 
25  (2  versions),  49  (2  versions),  60  (2  versions),  62,  71,  76,  83,  95,  100,  108,  in  (2 
versions),  122,  139,  150,  153,  155,  209,  217,  229,  232,  235,  239,  274,  284,  293,  298,  304. 


TABULATIONS4 
ALLITERATION  (cf.  p.  19) 

Gerhardt  clings  to  the  traditional  fondness  of  the  German  poet  for  alliterative 
phrases.  If  there  be  any  virtue  in  the  saw  regarding  "Apt  alliteration's  artful  aid" 
our  poet  has  found  that  virtue.  The  predominating  sounds  are  the  consonants ; 
rarely  is  there  alliteration  of  vowels.  An  enumeration  shows  the  following  results  :5 

Sequences  of  F,  12;  of  G,  36;  of  H,  20;  of  L,  27;  of  S,  30;  of  W,  20;  of  Z,  6. 
Of  the  other  consonants  there  is  an  average  of  only  two  or  three  each. 


B 

beiszt  und  brennt  ..............  153,  47 

D 

Ohne  dasz  du,  die  du  hier  .....  28,  53 

Ich  will  dein  Diener  bleiben  ....  41,42 

.     .     .     drang  dich  doch   .......  47,  7 

Entziinde  mich  durch  dich  .....  ^47,  40 

dienen    dir    ....................  150,  94 


Und  aller  Erden  Ecken  ........  220,  44 

1st  ihr  erfiillet,      ...........  270,  12 

F  (V) 
Fried  und  Freude   .............     25,  22 

Freund  und  Feinde  ............     77,  47 

f  iir  und  fiir   ...................       93,  3 

Fried-  und  Freudenswort   ......       95,  2 

Mit  Freuden  singen  fiir  und  fiir  150,97 
1st  meiner  Feinde  Freude  ......   178,  22 

Trost,  Friede,  Freud  und  Leben     190,  7 
Frisch  und  freudig   ............  232,  98 

Die  vollkommene  Freude   ......  244,120 

Freuden  Fiille  .................     274,  3 

Und  fasz  ein  fest  Vertrauen  ...  331,44 


Gottes  Gnad  und  Giit  7, 49 

Gott  gonnt  ihm  Guts   13, 80 

ganz  und  gar  15, 6 


Gottes  Grimm  30,  1 12 

Es  griiszet  dich  mein  ganzes 

Geist  44,  5 

Dem  Geber  aller  Giiter  59,  3 

Gegen  Gott 62, 68  &  69 

Gnad  und  Giitigkeit  62, 90 

Gift,  Gall  und  Ungestiim 74,  20 

Gut  und  Geld  80, 32 

Gall  und  Gift  81, 23 

Gut  und  Geld  86, 32 

Dasz  dir  Gott  Gliick,  Gut  und 

Ehr  89,3 

Gnad  und  Giite  95, 1 1 

Gottes  Gnad  und  Gab 97,  13 

giildne  Gut  und  Geld  97,  38 

Gottes  Geist  105, 20 

Gottes  Grimm  in,  75 

Gutes  gonnen 1 15,  43 

Geistes  Gnad  135, 79 

dein  Geist  mir  giebt  150, 93 

Gift  und  Gallen  153, 14 

Gut  und  Geld  153,  57 

Gottes  Zorn  und  groszen  Grimm  164, 61 

ganz  und  gar  178,  8 

Gold  ist  ihr  Gott,  Geld  ist  ihr 

Licht  190,  17 

Geist  und  Glauben  226, 44 

Hat  er  nicht  Gold,  so  hat  er  Gott  226,  49 

Hie  ist  Gott  und  Gottes  Grund  232, 44 

Gottes  Gaben  239,  3 

Des  groszen  Gottes  groszes  Thun  239, 44 


4  In  these  tabulations  the  poems  are  numbered  according  to  the  page  on  which  they 
begin  in  the  Goedeke  text,  thus :    153,  12  means  poem  no.  153,  line  12. 

5  The  tabulation  is  not  exhaustive.     A  few  somewhat  forced  cases  are  omitted. 


'5° 


PAUL  GERHARDT  AS  A  HYMN  WRITER 


Geld  und  Gut  242,65 

Gibt  uns  Gott  dies  einge  Gut  . . .  244, 11 

Gott  und  Gottes  Gunst 248, 1 1 

ganz  und  gar  253, 2 

Dein  Geberde,  dein  Gesicht 254, 9 

ganz  und  gar  255, 41 

Geduld  1st  Gottes  Gabe 

Und  seines  Geistes  Gut 267,25426 

Gottes  Grimm  ..273,7  (cf.  in,  75  above) 

ganz  und  gar  284,  68 

Giiter  und  Gaben  293, 23 

Gut  und  Gaben  298, 16 

Gut  und  Gelde   3*9*  9 

Gut  und  Gelde  321, 63 

H 
Mein  Herrscher,  mein  Heifer  ..       5,61 

Hans  und  Hof   7,32 

Himmels  Haus   21,26 

Die  Hande  herzlich  driicken  ...     43, 14 
Ihr    Herz    und    Hand    ist    hoch 

bemiiht   5l,29 

Ich  mein  Heil  und  Hiilfe  hab  ..       93,6 

Meine  Hiilfe  kommt  allein 

Von  des  Hochsten  Handen  her  93, /&8 

Hiet  und  Hiiter   120,  4 

hoch  und  herrlich   139, 24 

Weil  heut  der   Herr   der  Herr- 

lichkeit   171, 3 

hartes  Herze  200, 51 

ich  harr  und  hoff  auf  dich  212,  99 

Wol  halt  und  herrlich  siege  217,85 

Haut  und  Hiille  220, 36 

Sein    Hoheit    ist    des    Hochsten 

Huld    226,54 

Haupt  und  Halse  232, 66 

heilt  und  hielt  232, 72 

Heil  und  Hort   267, 36 

Herr  im  Haus    267, 56 

Heilen  im  Herzen   293, 78 

K 
Knecht  und  Kind   86, 79 


Lob  und  Liebe   17, 69 

Lebens  Leben    19, 58 

Lieb  und  Lust  25.  54 

Lieb  und  Leid  47,  56 

Des  Lebens  Leben  lebet  noch  ...  51.  5 

Leben  und  Leiden  65, 40 


Ich  lechze  wie  ein  Land  65,  46 

liegt  und  legt 74, 1 9 

Lebens  Lauf 89,  85 

lebt  und  lacht  139, 44 

Lust  und  Lachen  149, 35 

Alle  Luft  Laute  ruft 155,  5 

Leib  und  Seele  laben  164, 64 

Lebens  Lang  164, 101 

Im  ewgen  Leben  labe  173, 96 

Lebens  Lauf  180, 72 

Lieb  und  Leid  209, 41 

Leib  und  Leben 229,  93 

Kein  Lieben  und  kein  Leiden  . .  .229, 107 

Lob  und  lieb  235,  120 

Ist  viel  mehr  Lobs  und  Liebens 

wert  242, 3 

Sie  thut  ihm  Liebes  und  kein 

Leid 242, 9 

Mein  Leben  lang  252, 47 

Lieb  und  Lust  260, 89 

Licht  und  Leben 271, 44 

Lebens  Licht  284, 98 

Licht  und  Leben 313,  19 

Luft  und  Leben  328, 50 

M 

Mich  und  mein  armes  Leben  ....  47,  12 

Entnehmen  meinen  Mut 74,  29 

Alein  Vater  musz  mich  lieben  .  . .  83,  10 

Alle  Menschen  miiszen  leiden  . . .  274,  86 

R 

Regen,  Reif,  und  Wind 10,  71 

Ruh  und  Rast 46, 6 

Reich  und  Rachen 62,  55 

Ruh  und  Rast  328, 2 


Ich  stund  in  Spott  und  Schanden  25, 27 

Springst  und  singst  28,  47 

In  Schlaf  und  siiszer  Stille 30,48 

schrickt  und  scheut   49,  10 

So  sorgten  sie  zur  selben  Zeit  ...  51,  50 

du  sollt  die  Sonne  schauen 59, 1 6 

Die  Siinden  aller  Sunder 68,  4 

Schand  und  Siinden 76,  35 

stiehlt  und  stellt  80, 31 

Schand  und  Siinde  81, 13 

Der    Seelen    Sitz    mit    Sinn    und 

Witz    83,21 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY 


Der  Schatten  einen  Schemen  ....     86,  33 

sanft  und  stille  86, 94 

Spiesz  und  Schwerter 95,  4 

.     .     .     zerstorten  Schlosser 
Und    Stadte    voller    Schutt    und 

Stein   95,  39  &  40 

Stahl  und  Steine m,  86 

Zu  stehen  in  dem  Streit in,  14 

Dein      Stab,      Herr,     und     dein 

Stecken  120, 27 

sanft  und  still 139,  7 

Ich  steh  im  gewiinschten  Stande 
.     .     .     Scham  und  Schande 

145, 109  &  no 

Sammt,  Seiden 158, 69 

selig,  siisz,  und  schon 200,  19 

Stahl  noch  Stein  209, 61 

Mit        Schimpf       und       groszer 

Schande    212,  128 

1st  voller  Freud  und   Singen 
Sieht  lauter  Sonnenschein 

Die  Sonne 229, 115,  n6&  117 

Seine  Strafen,  seine  Schlage  ....   235,  91 
Halt  sich   selbst  sauber ;    weisze 

Seid 242, 43 

Singt  und  springt 251,  17 

schwache   Schnur    254, 22 

Schosz  und  Schutz  287,  76 

Sind  seine  Sorgen 

Segnen     293,  32  &  33 

Steht  in  steter  voller  Bliit 304,  68 


Thun  und  Toben 108, 62 

Tod  und  Teufel 312, 6 

W 

Wind  und  Wetter 10,  63 

Gott    weisz    wol,    was    wir    ver- 

mogen 28,  25 

Wirst  du  und  wir  mit  dir  gehn, 

Wenn  uns  wird     28,  62  &  63 

Um  welcher  willen  30,  2 


Aus  welcher  Wund  30, 307 

Hast  alles,  was  ich  wiinsch  und 

will 46, 26 

Dich  hat  ein  Weib  der  Welt  ge- 

bracht   .'. 47,  1 6 

Mein  Weirauch  und  mein  Widder    59,23 
Wer  dort  wird  mit  verhohnt, 
Wird  hier  auch  mit  gekront ; 
Wer  dort  mit  sterben  geht, 

Wird  hier  auch  mit  erhoht 74, 69-72 

Werk  und  Worten  86, 46 

Weisz  alle  Weisheit 100,  67 

wertes  Wort 104, 62 

Wol  und  Weh 139,  37 

Weg  und  Weisen  205, 33 

Der  Weizen  wachset  mit  Gewalt  239,  37 

Wol  und  Weh  263, 63 

All  deine  Werk  sind  Wunder  voll  287,  47 
Weirauch  und  Widder 

293,  29  (cf.  59,  23  above) 
Wort  und  Willen  293,  75 


Durch  Zittern  und  durch  Zagen. .     19, 10 

Mit  Zittern  und  mit  Zagen 30,  39 

Zorn,  Zank  in,  52 

Zeit  und  Zahl 150,  99 

Zur  rechten  Zeit  zu  zahmen 169,  n 

Zu  seinem  Zweck  und  Ziel 185,  40 

SPECIAL  CASES  OF  ALLITERATION 
Dein    Schirm    und    Schild,    dein 

Hiilf  und  Heil  118,  55 

Wann    Gottes    Geist    erhebt    die 

Hand  173, 41 

Sein  Herz  ist  voller  Huld 
Und  gonnt  uns  lauter  Guts. 
Den  Abend  wahrt  das  Weinen, 
Des  Morgens  macht  das  Scheinen 

Der  Sonn  uns  gutes  Muts 180,  35-40 

Ich  Hebe  dich  und  leide  Pein 

Bin  dein  und  doch  betriibet  . .  190,  38  &  39 

Lasset  uns  loben 

Seliges  Sterben 270,  5  &  6 


5,    58  griinen  und  bliihn 

19,      i  gehn  und  treten 

45  Sei  der  Verlasznen  Vater 

46  ...     Berater 

47  ...     Gabe 

48  Der  Armen  Gut  und  Habe. 


ASSONANCE 

23,   69 


28, 


47 
62 

63 


Der    Rat    und    That    erfinden 

kann 

springst  und  singst 
Wirst  du  und  wir  mit  dir  gehn 
Wenn  uns  wird 


PAUL  GERHARDT  AS  A  HYMN  WRITER 


44,     2 
3 

46.  5 
6 

47,  7 

6o 
60,   43 

44 
45 

65,  49 
68,  i 

5 

78,  12 

80,  40 

91,  58 

IOO,  67 

70 

I",  52 
III,  82 

118,  49 

122,     13 

124,  27 

132,    16 

145,  47 
1 02 
no 

M9,  15 
161,  88 
164,  3 

171,     i 

176,     12 

193,  43 
196,  4 
200,  32 
38 
209,  no 

III 


Der  herzlich    .     .     • 

Wie  schmerzlich    .     .    • 

Du  Trager  aller  Biird  und  Last 

Du  aller  Miiden  Ruh  und  Kast 

Ach,  wie  bezwang  und  drang 

dich  doch 

All  seine  Zeit  vertreibe 
Breit  aus  die  Flugel  beide 
O  Jesu,  meine  Freude 
Und  nimm  dein  Kuchlem  em! 
Saft  und  Kraft 
geht  und  tragt 
matt  und  krank 
selbst  zum  Heifer  stellt 
Full  und  Hull 
schlecht  und  recht 
Weisz  alle  Weisheit 
Fleisz  und  Schweisz 
Neid  und  Streit 
Auf  Reu  der  Freuden  Blick 
sing  und  spring 
Gut  und  Blut 
.    .    .     Spreu  zerstreuet 
Gut  und  Blut  (cf.  122,  13) 
Jagt  und  schlagt 
sing  und  klinge 
Scham  und  Schande 
Wunden  unsrer  Siinden 
Theil  und  Heil 

schlecht  und  recht  (cf.  91,  58) 
weit  und  breit 
weit  und  breit  (cf.  164,  131) 
So  kennt,  so  nennt 
Tritt  und  Schritt 
Rat  und  That  (cf.  23,  69) 
Tag  und  Nacht 
Not  und  Tod 
Da  wird   mein  Weinen   lauter 

Wein, 
Mein   Achzen  lauter  Jauchzen 


212,  II 
217,  4 
220,  45 

46 

229,  45 
46 

239,  28 
44 

242,    72 

244,   43 
251,    17 

253,  19 

254,  14 
260,  94 
270. 


Rat  und  That  (cf.  23,69;  196,4) 

geht  und  steht 

Wer  brachte  Sonn  und  Mond 
herfiir 

Wer    machte    Krauter,    Baum 
und  Thier 

Kein  Urtheil  mich  erschrecket 

Kein  Unheil  mich  betriibt 

Die  Wiesen  liegen 

Des  groszen  Gottes  groszes 
Thun 

weit  und  breit  (cf.  164,  131 ; 
169,  i) 

des  roten  Goldes  Kot 

singt  und  springt  (cf.  28,  47; 
118,  49) 

Kraft  und  Macht 

Gieng  und  hieng 

Rat  und  That  (cf .  23,  69 ;  196, 4) 

In  this  poem  note  the  unusual 
scheme  of  alliteration  and 
sound  sequence  (regular 
except  for  one  line)  in 
the  first  four  syllables  of  the 
concluding  couplets  of  the 
first  three  stanzas : 


stanza 

5 
6 

stanza 
II 
12 

stanza 
17 

18 

271,  15 
274,  87 
284,  71 
287,  53 
298, 125 
333,  54 


lasset  uns  loben     .     .     . 

Seliges  Sterben     .     .     . 

2 

Ihre  Begierde     .     .     . 

1st  ihr  erfiillet    .     .     . 

3 

Berkow,   das    feine,   geschickte 

Gemiit 

Dessen  Gediichtnisz     .     .     . 
Tod  und  Sterbensnot 
webt  und  lebet 
hebt  und  leget 
Tag  und  Jahre  Zahl 
webt  und  lebt  (cf.  274,  87) 
Rat    und    That     (cf.    23,    69; 

260,  94) 


DOUBLETS  OF  EXACT  OR  APPROXIMATE  SYNONYMS  (cf.  p.  19) 


Ach  und  Weh 104,  8 ;  335, 10 

Adern  und  Gebliite 158, 9 

Angst  und  Not  . .  .25,  55  ;  91,  66;  150,  89; 
T93,  66 ;  209,  26 ;  232,  99 ;  325,  24 

Angst  und  Noten 185,  71 

Angst,  Furcht,  Sorg  und  Schmerz    78,  19 
Angst  und  Pein  122,  20 ;  224,  5 


Angst  und  Plagen  19. 9 

Angst  und  Qual   .  .23, 10;  164, 97  ',  198, 8; 

271, 12 

Angst  und  Schmerzen 220,  15 

Angst  und  Triibsal 145,  30 

Angst  und  Weh  . .  .65, 64;  164,  53  ;  212,  37 
angstet  und  bemiiht  78,  27 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY 


'53 


Arm  und  Kraft 284, 88 

Bahn  und  Lauf  304,  16 

Bahn  und  Steg 83,  91 ;  248,  79 

Berg  und  Spitzen  217, 22 

betriibt  und  kranket   95, 31 

Bett  und  Lager  313,  13 

bewust  und  wolbekannt  139, 52 

brechen  und  fallen  293, 67 

Bund  und  Zeugnisz  91, 27 

Biird  und  Last 267,  32 

Burg  und  Schlosz  190,  90 

Dampf  und  Rauch  153,  12 

Dieb  und  Rauber 106, 21 

driick  und  quale  108,  56 

Ehr  und  Dank 324,  46 

Ehr  und  Dienste  HI,  15 

Eilend  und  behend  315,  54 

emsich  und  bemiihet  328,  16 

Ohn  End  und  alle  Masz  47, 41 

Erb  und  Theil  190,  96 

Erd  und  Kot 1 15, 20 

Erd  und  Staub 324,  7 

Erd  und  Thon  153,  7 

Erkenntnisz  und  Verstand 260,  82 

Ernst  und  Eif  er 30,  246 

fall  und  sterbe  229,  75 

Fehl  und  Mangel 278, 23 

Pels  und  Burg  145,  14 

Pels  und  Stein    30,  322 ;  127,  53 

Feuer  und  Licht  242, 29 

Fleisch  und  Blut  .  .30,  31  ;  217,42;  324,  4; 
325,  12 ;  328,  30 

Fleisz  und  Schweisz 100,  70 

fliehn  und  haszen  81, 40 

fleuch  und  haszt 229,  82 

fliehn  und  laszen 71,  89 

frech  und  geil  278,  108 

sich  freu  und  jubiliere  212, 102 

Freud  und  Lust 97,  49 

Freud  und  Seligkeit 209, 97 

Freud  und  Singen    229, 115 

Freud  und  Trost 51,  181 

Freud  und  Wonne    158,  25  ;  232,  2 

Freuden  und  Lust 5,  33 

Mein  Freund  und  treuer  Rat  ....  217,  39 
Fried-  und  Freudenswort   95, 2 


Fried  und  Ruh  95,  72 ;  205,  83 

Frisch  und  f reudig 232, 98 

Full  und  Hull   80, 40 

Furcht  und  Angst 120, 19 

Furcht  und  Scheu    15, 43 

Furcht  und  Schrecken  ..  .51, 182;  229,  58 
Furcht  und  Zagen    284,  39 

Gall  und  Gift 8r,  23 

ganz  und  gar  15,  6 ;  178, 8 ;  253, 2 ; 

254, 41 ;  284, 68 

ganz  und  neu  251, 28 

Geist  und  Gemute 271, 2 

Geist  und  Sinn  78, 18 ;  158,  5 

Geist  und  Sinnen   135, 78 

Geld  und  Gut 242,  65 

Gemiit  und  Seele 108,  55 

gern  und  williglich 71, 84 

getrost  und  unbetriibt  271, 1 

getrost  und  unverzagt  125, 75 

Gift  und  Gallen 153, 14 

Glanz  und  Bild    46,  15 

Glanz  und  Freudenlicht  118,54 

Mein  Glanz  und  schones  Licht  . .  229,  26 

Glanz  und  Schein 103,  2 

Glaub  und  Treu 173,  28 ;  205,  40 

Gliick  und  Freude 10, 84 

Gliick,  Gut  und  Ehr 89,  3 

Gliick  und  Heil   95,  30 

Gliick  und  Segen 108,  88 ;  217,  3 

Gnad  und  Gab  97, 13 

Gnad  und  Gunst  304,  3 

Gnad  und  Giite  95,  n 

Gnad  und  Giitigkeit  62,  90 

Gnad  und  Hulden 293,  84 

Gott  und  Hort  253,  15 

Gott  und  Retter    127, 16 

Grab  und  Sarg 68, 29 

Gram  und  Leid   135,  127 

Gram  und  Schmerze   25,  43 

Gras  und  Laub   324, 8 

Gut  und  Geld  (e)  . .  86,  32 ;  97, 38 ;  153,  57 ; 
319,9)321,63 

Gut  und  Heil  17,  56 

Gut  und  Waaren 10,  60 

Giit  und  Segen    21, 27 

Hab  und  Gut  188, 19 

Hasz  und  Neid  15,  19 

Haus  und  Hof 7,  32 


154 


PAUL  GERHARDT  AS  A  HYMN  WRITER 


Haus  und  Zelt   173, 86 ;  232,  86 

Heil  und  Gnaden    293, 76 

Heil  und  Hiilfe  93,6 

Herz  und  Mut   7, 62 ;  267,  16 

Herz  und  Sinn    83,  I  &2;205,43 

Heu  und  Stroh  158, 68 

hoch  und  herrlich 139, 24 

Hohn  und  Spott  . .  .68, 8 ;  183,  17  ',  229,  86 

Hohn  und  groszem  Spott  7^6 

Huld  und  Gnaden 324, 23 

Hiilf  und  Errettung in,  12 

Hiilf  und  Heil  118,  55 

Hulf  und  Rat 188, 22 

Hut  und  Giite   106, 29 

Hut  und  Wach   287, 26 

in  Jammer  und  in  Not 198,  10 

Jauchzen  und  Freuden  5,  72 

Kalt  und  Frost 1 18,  17 

kann  und  mag    239, 43  ;  274,  85 

kann  und  weisz  25,  1 6 

Klag  und  Sorge 226, 12 

klar  und  rein  287,  39 

Knecht  und  Kind  86,  79 

Mein  Konnen,  mein  Vermogen..  235,45 
Kraft  und  Macht  253, 19 

Last  und  Btird   226, 22 

Laster  und  Schande   293, 46 

Leib  und  Leben  229, 93 

Leib  und  Seel(e)    .  .7,  85  ;  25, 19;  30,  129; 

60,  39 ;  7i,  52 ;  71,  59 ;  83,  20 ;  93, 29 ; 

127, 8 ;  164,  64 ;  248, 22 ;  325, 15 

lenke  und  f  uhre 293, 87 

Lieb  und  Ehre  217, 45 

Lieb  und  Gnad    278,  90 

Lieb  und  Gut  78,  25 

Lieb  und  Huld    3,  1 1 ;  7,  60 ;  25, 60 ; 

30,  3^9  J  65, 24 

Lieb  und  Lust   25,  54 

Lieb  und  Treu  30, 229 

List  und  Tuck 91,  54 

Lob  und  Preis  ...  .25,  14;  248,  5  ;  319,  13  ; 

324, 48 

lobt  und  preist 10, 90 

Lob  und  Dank 97,  22 ;  180,  7 ;  232, 91 

Lohn  und  Sold 271,  33 

Luft  und  Hoh  15, 24 


Lust  und  Freude 21,54;  180,88; 

193,  31 ;  226,  68 ;  244, 26 
Lust  und  Freuden 124, 9 

Macht  und  Kraft  108, 84 

March  und  Bein   158, 42 

Mark  und  Bein   328,  28 

Masz  und  Zahl    15, 32 

Masz  und  Ziel   10,  45  ;  183,  62 ;  232, 84 

Neid  und  Hasz    321,  10 

Neid  und  Streit    248, 60 

Ort  und  Raum  30,  344 ;  161,  39  &  40 

Pein  und  Schmerz  328, 60 

Pest  und  Gift 51, 240 

Dein  Pilgrim  und  dein  Burger  . .  86, 81 

Preis  und  Dank    106, 4 

Preis  und  Ehr   150,  7 

Rank  und  List 80,  33 

Rat  und  Hiilfe 307, 4 

Raub  und  Frasz   321,  12 

rein  und  gerecht   65,  16 

rein  und  hell    46,  14 

rein  und  klar  278, 18 

wir  rennen,  laufen  315,  50 

Ruh  und  Rast 328, 2 

Ruhm  und  Preis  302, 74 

riihmt  und  preist 176,  12 

Sanft  und  gelind   224, 37 

sanft  und  still (e)    86,945139,7 

Schand  und  Spott    103, 30 

Schand  und  Siinde  81, 13 

dein  Schatz,  dein  Erb  und  Theil  119,53 

Schild  und  Hort 93,  39 

Mit       Schimpf       und       groszer 

Schande   212, 128 

Schirm  und  Schild  1 18,  55 

schlaft  und  ruht  335,  52 

schlagt  und  driickt  325,  30 

Schmerze  und  Sorgen 185, 49  &  50 

Schmerz  und  Weh  226,  9 

schon  und  klar   158, 61 

Das  Schonste  und  Beste 293,  97 

schrickt  und  scheut  49, 10 

Schuld  und  Missethat  256, 109 

Sclav  und  Knecht 325,  26 

Seel  und  Geist 81, 44 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY 


Dein  Seufzen  und  dein  Stohnen    71, 91 

singen  und  loben 120, 48 

sinken  und  fallen  212, 124 

Sinn  und  Geiste 263,  69 

(cf.  Geist  und  Sinn,  q.  v.) 

Sitz  und  Ort    278,  176 

Sitz  und  Rauni    7>  35 

Sonn  und  Zier 217,  47 

Sorg  und  Schmerzen 229,  51 ;  307,  46 

Speis  und  Malzeit 244,  45 

Spiesz  und  Schwerter  95, 4 

Spott  und  Hohn    100,  54 ;  135, 47 

Spott  und  Schanden    25, 27 

Dein  Stab  und  dein  Stecken  ....   120,  27 

Stadt  und  Land 7,  36 

Stark  und  Kraft  .  .28,  42  ;  271,  19  ;  239,  35 
steif  und  fest  ....  161,  69 ;  178,  37  ;  226,  66 

Stell  und  Ort 220,  38 ;  310, 27 

Straf  und  Last   30,  340 

Straf  und  Zorn  224,  9 

Stuhl  und  Thron  ( e )   1 08,  70 ;  205, 84 

Stund  und  Zeiten   60,  34 

Sturm  und  Regen  267, 15 

Sturm  und  Ungewitter   209, 84 

Sturm  und  Wellen  229, 15 

Sturm  und  Wetter    7,  25  ;  93,  30 

Sturm  und  Wind    253,  10 

Thau  und  Regen 1 18, 16 

Theil  und  Erbe  229,  73 

Thun  und  Machen  19,  23 

Thun  und  Toben    108, 62 

Dein  Tichten,  dein  Trachten,  dein 

Thun  5,  17 

Tief  und  See  15,  23 


Tod  und  Ende  30,  192 

trifft  und  schlagt 324, 17 

Tritt  und  Schritt 193,  43 

Trost  und  Freud  (e)    25,18:65,22; 

196,  36  5  302, 73 

Aller  Trost  und  alle  Freude 108, 41 

Trost  und  Labsal 65,  57 ;  232, 4 

Trost  und  Licht    328,  82 

Trost  und  Schild    46, 1 6 

Wall  und  Mauren 183, 15 

Weg  und  Weisen  205,  33 

Wege,  Lauf  und  Bahn 185, 6 

Weh  und  Klagen    97,  50 

Weh  und  Schmerz(en)     ..251,35284,38 

Weis  und  Art  335, 62 

Weisheit  und  Verstand  .  .139,  51 ;  158,  57 
weit  und  breit  . . .  164,  131 ;  171,  i ;  242, 72 
Werk  und  That  .  .217,  50 ;  220, 85 ;  304,  29 

Werke  und  Thaten 293,  35 

Wind  und  Wetter 10, 63 

wirkt  und  schafft   139, 34 

Witz  und  Sinn 220,  5 

Wonn  und  Frohlichkeit  310, 72 

Wort  und  Reden   278, 20 

Wvird  und  Ehr 188,  88 

ihre  Zahren  und  Thranen  . . .  142, 27  &  28 

Zank  und  Geifer  321,  n 

Zeit  und  Stund  244,  in 

Zorn  und  Eifer   321, 9 

Zorn  und  Fluch  103, 9 

Zorn  und  Grimm    108,  14 

Zorn  und  groszem  Grimm    164, 61 

Zweck  und  Ziel  185, 40 


REPETITION1 

Was  ist  doch  gut  ohn  diesem  Gut?  

Wenn  dies  Gut  nicht  im  Herzen  ruht ^  ^ 

Ist  alles  Gut  verworfen  

O  Haupt  voll  Blut  und  Wunden •  •  •  •  J» 

Voll  Schmerz  und  voller  Hohn !  TT 

O  Haupt  zu  Spott  gebunden  J»'  e 

O  Haupt,  sonst  schon  gezieret  ^y'  ^ 

Auf,  auf,  ihr  sollt  beginnen  >5 

Erdengut  zerfallt  und  bricht  g»  g 

Seelengut  das  schwindet  nicht •  "?'  ° 

Aller  Trost  und  alle  Freude J°°'  ^ 

Dein  Erf reuen  ist  die  Weide "*{>  43 

Leuchte  mir,  o  Freudenlicht 

Zeuch  ein  zu  deinen  Thoren TTT'  o 

Zeuch  ein,  lasz  mich  empfinden T,T  T« 

Und  schmecken  deine  Kraft2  ll1'  l° 

Die  Kraft  die  uns  von  Sunden  in,  n 

Was  Gott  gefallt. .  139,  5, 10, 15, 20,  etc.  (i.  e.  the  concluding  line  of  each  of  the  20  stanzas) 

Wir  singen  dir,  Emanuel    X5°> l 

Wir  singen  dir  in  deinem  Heer    5°,  ° 

Bist  aller  Haiden  Trost  und  Licht, :50, 43 

Suchst  selber  Trost  und  findst  ihn  nicht  ISO.  44 

Du  bist  der  siisze  Menschenfreund  *50, 4° 

Doch  sind  dir  so  viel  Menschen  feind  I50. 47 

Befiehl  du  deine  Wege ^5,  i 

Gibt  Wege,  Lauf  und  Bahn  [«5, 0 

Der  wird  auch  Wege  finden I°S.  7 

Sollt  ich  meinen  Gott  nicht  singen  ?   235, 1 

Sollt  ich  Ihm  nicht  dankbar  sein  ? 235»  2 

Alles  Ding  wahrt  seine  Zeit 235,  9 

Gottes  Lieb  in  Ewigkeit  235»  10 

(This  couplet  concludes  each  of  the  twelve  stanzas) 

JUXTAPOSITION  OF  WORDS  DERIVED  FROM  THE  SAME  ROOT, 
AND  PLAYS  ON  WORDS  (cf.  p.  19) 

Trotz  sei  dir,  du  trotzender  Kot !   5. 65 

Erbarm  dich,  o  barmherzigs  Herz  7.  76 

Als  das  geliebte  Lieben  25. 35 

Zum  Fluch  dem,  der  Ihm  flucht  25»  74 

Das  nennt  der  Lastrer  Lasterwort 30, 106 

Kein  Wachter  mag  zu  machtig  sein 39,  323 

Drum,  herzes  Herze,  bitt  ich  dich  47,  28 

Wer  dich  recht  liebt,  ergibt  sich  f rei,  47, 46 

In  deiner  Lieb  und  siiszen  Treu 47, 47 

1  The  complete  tabulation  of  words  and  phrases  used  in  repetition  is  too  bulky  for 
printing.  These  few  selections  will  serve  to  illustrate  this  characteristic  of  Gerhardt's 
poetry.  Cf.  p.  19. 

'  Frequently,  as  here,  the  last  word  in  the  line  is  repeated  as  the  first  word  in  the 
next  following  line.  Cf.  in,  69  &  70;  149,  44  &  45 ;  158,  238:24;  161,  117  &  118. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY          157 

Der  von  unbeschnittnem  Herzen  67,  3 

.     .     .     .     mit   Beschneidung    67, 5 

Die  Siinden  aller  Sunder  68, 4 

O  Wunderlieb !    o  Liebesmacht 68, 25 

Die  Triibsal  trubt  mir  nicht 74, 45 

Das  Ungliick  ist  mein  Gliick  74. 47 

Griindst  des  tief en  Meeres  Grund  76, 28 

Und  wo  kein  Mensch  nicht  helfen  kann 78,  n 

Sich  selbst  zum  Heifer  stellt 78,  12 

Und  Vater  meines  Lebens  81, 2 

Wo  du  mein  Leben  nicht  regierst  81, 3 

So  leb  ich  hier  vergebens  ;  81, 4 

Ja  lebendig  bin  ich  auch  todt,  81,  5 

.     .     .     .     Der  hat  das  rechte  Leben     81, 8 

Der  Wird  zu  Schanden,  der  dich  schandt  9l>  5 

Und  wie  mich  der  so  hoch  erhoht, 97, 6 

Der  selbst  so  hoch  erhoben 97,  7 

Heifer  in  der  rechten  Zeit 108,  6 

Hilf,  o  Heiland    108,7 

Ein  Freund  der  Freundlichkeit  HI,  5° 

Der  Feindschaft  bist  du  feind  in,  53 

Zu  riihmen  seinen  Ruhm  !  115,  74 

Kann  uns  doch  kein  Tod  nicht  todten  122, 43 

Auch  todte  mich  durch  deinen  Tod 132,  58 

Lasz  mich  deinen  Schutz  beschiitzen  145,  n 

Wenn  mir  Lebenskraft  gebricht ;   145,  76 

Lasz  mein  Leben  in  dir  leben 145,  77 

Ich  steh  im  gewiinschten  Stande 145, 109 

Sein  Licht  und  Heil  macht  alles  heil 153,  21 

Du  bist  meines  Leben  Leben  155,  70 

.     .     .     .     dasz  ich  mein  End  161, 113 

Auch  also  mochte  enden  161, 114 

Durch  Adams  Fall  gefallen 173, 15 

Durch  dieses  Fallen  ist  die  Macht  173, 16 

Weg  hast  du  allerwegen  185,  25 

.     .     .     .     kein  Sinnen   220, 79 

Ihm  hat  ersinnen  konnen !   220, 80 

Der  Grund,  da  ich  mich  griinde 229, 17 

....     mein  Vermogen    235, 45 

Nichts  vermag,  nichts  helfen  kann,  233,  46 

Sein  Vermogen  beizulegen  235, 48 

Wann  andre  loschen  Feuer  und  Licht,  242, 29 

Verloscht  doch  ihre  Leuchte  nicht 242, 30 

Ich  lieb  ihr  liebes  Angesicht  260,  41 

Giitig  dem,  der  Gutes  thut 307,  79 

Nun,  der  sei  mein  schonstes  Gut  307, 80 

PLAYS  ON  WORDS 

Herr  Fromm  ist  fromm,  das  weisz  man  wol  13, 82 

Der  Frommen  Lohn    13, 124  (cf.  13,  82) 

Sein  Licht  und  Heil  macht  alles  heil 153, 21 

Da  wird  mein  Weinen  lauter  Wein  209,  no 

Wie  seinem  Mut  zu  Mute  sei  223, 123 

Steht  in  steter  voller  Bliit 304,  68 


INDEX  BY  SUBJECTS* 

Goedeke 

HOLY  TRINITY  Page     Page 

i.    Was  alle  Weisheit  in  der  Welt  ......................................  I7 

ADVENT 

1.  Warum  willst  du  drauszen  stehen  .............................  '  '| 

2.  Wie  soil  ich  dich  empfangen  ...................................... 


CHRISTMAS 

1.  Frolich  soil  mein  Herze  springen   ...................................  X55  .....  5^ 

2.  Ich  steh  an  deiner  Krippen  hier   .....................................  !5   ..... 

3.  Kommt  und  laszt  uns  Christum  ehren  ...............................  3"  .....  79 

4.  O  Jesu  Christ,  dein  Kripplein  ist  ....................................  Z53  .....  57 

5.  Schaut,  Schaut,  was  ist  fur  Wunder  dar  .............................  3™  .....  79 

6.  Wir  singen  dir,  Emanuel  ............................................  I5°  ----  I: 

NEW  YEAR 

1.  Nun  laszt  uns  gehn  und  treten  .......................................  J9  .....  3§ 

2.  Warum  machet  solche  Schmerzen  ....................................  67  .....  42 

GOOD  FRIDAY  (PASSIONTIDE) 

1.  Ein  Lammlein  geht  und  tragt  die  Schuld  .............................  68  ----  104 

2.  Gegriiszet  seist  du,  Gott,  mein  Heil  ...................................  46  .....  4* 

3.  H6r  an,  mein  Herz,  die  sieben  Wort  .................................  J6i  .....  60 

4.  O  Haupt  voll  Blut  und  Wunden  ......................................  49  .....  86 

5.  O  Herz  des  Konigs  aller  Welt  .......................................  47  .....  4i 

6.  O  Welt,  sieh  hier  dein  Leben  .........................................  7*  .....  42 

7.  Sei  mir  tausendmal  gegriiszet  ........................................  40  .....  4° 

EASTER 

1.  Auf,  auf,  mein  Herz,  mit  Freuden  ....................................  74  .....  44 

2.  Sei  frolich  alles  weit  und  breit  ......................................  I7l  .....  01 

WHITSUNTIDE 

1.  Gott,  Vater,  sende  deinen  Geist  ......................................  173  .....  62 

2.  O  du  allersiiszste  Freude  .............................................  76  .....  44 

3.  Zeuch  ein  zu  deinen  Thoren  .........................................  HI  .....  52 

CROSS  AND  CONSOLATION 

1.  Ach  treuer  Gott,  barmherzigs  Herz  ..................................  209  .....  65 

2.  Barmherziger  Vater,  hochster  Gott  ..................................  212  .....  66 

3.  Befiehl  du  dein  Wege  ...............................................  185  ____  114 

4.  Du  bist  ein  Mensch,  das  weiszst  du  wol  ..............................  220  .....  67 

*  Only  76  of  the  131  poems  have  been  included  in  this  index. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY          159 

Goedeke 
Page       Page 

5.  Du  Hebe  Unschuld  du  3 36 

6.  Geduld  ist  euch  vonnoten   267 72 

7.  Gib  dich  zufrieden  und  sei  stille  274 74 

8.  Ich  hab  in  Gottes  Herz  und  Sinn  83 48 

9.  Ich  hab  oft  bei  mir  selbst  gedacht  226 68 

10.  Ich  habs  verdient,  was  will  ich  doch  224 67 

11.  Ist  Gott  fur  mich,  so  trete  229 126 

12.  Nicht  so  traurig,  nicht  so  sehr  89 48 

13.  Noch  dennoch  muszt  du  drum  nicht  ganz  23 38 

14.  Schwing  dich  auf  zu  deinem  Gott 135 55 

15.  Warum  sollt  ich  mich  denn  gramen 122 108 

16.  Was  Gott  gefjillt,  mein  frommes  Kind  139 56 

17.  Wie  lang,  o  Herr,  wie  lange  soil 178 62 

REPENTANCE 

1.  Herr,  hore,  was  mein  Mund   65 41 

2.  Nach  dir,  o  Herr,  verlanget  mich  91 49 

3.  Weg,  mein  Herz,  mit  den  Gedanken  62 41 

PRAISE  AND  THANKSGIVING 

1.  Auf  den  Nebel  folgt  die  Sonne   232 68 

2.  Der  Herr,  der  aller  Enden  120 54 

3.  Gott  Lob !    nun  ist  erschollen   95 50 

4.  Ich  singe  dir  mit  Herz  und  Mund  118 53 

5.  Nun  danket  all  und  bringet  Ehr  78 46 

6.  Sollt  ich  meinem  Gott  nicht  singen  235 69 

7.  Wie  ist  es  miiglich,  hochstes  Licht  324 81 

8.  Wie  ist  so  grosz  und  schwer  die  Last  7 36 

PRAYER  AND  THE  CHRISTIAN  LIFE 

1.  Herr,  aller  Weisheit  Quell  und  Grund  260 71 

2.  Herr,  du  er f orschest  meinen  Sinn  287 75 

3.  Ich  danke  dir  demiitiglich    205 65 

4.  Ich  erhebe,  Herr,  zu  dir   93 49 

5.  Ich  weisz,  mein  Gott,  dasz  all  mein  Thun 217 66 

6.  Jesu,  allerliebster  Bruder    263 72 

7.  O  Gott,  mein  Schopfer,  edler  Fiirst  81 48 

8.  O  Jesu  Christ,  mein  schonstes  Licht  200 63 

9.  Wol  dem,  der  den  Herren  scheuet  130 55 

10.  Wol  dem  Menschen,  der  nicht  wandelt  124 54 

11.  Zweierlei  bitt  ich  von  dir   80 47 

MORNING  AND  EVENING 

1.  Der  Tag  mit  seinem  Lichte  296 77 

2.  Die  gtildne  Sonne   293 76 

3.  Lobet  den  Herren,  alle,  die  ihn  fiirchten  106 51 

4.  Nun  ist  der  Regen  hin  17 37 

5.  Nun  ruhen  alle  Walder  60 98 

6.  Wach  auf,  mein  Herz,  und  singe  59 95 


,6o  PAUL  GERHARDT  AS  A  HYMN  WRITER 

_  Goedeke 

DEATH  AND  ETERNAL  LIFE  page     page 

1.  Die  Zeit  ist  nunmehr  nah  I42 57 

2.  Du  bist  zwar  mein  und  bleibest  mein  IO° 50 

3'    Herr  Gott,  du  bist  ja  fiir  und  fur  3J5 80 

4.  Ich  bin  ein  Cast  auf  Erden  284 74 

5.  Johannes  sahe  durch  Gesicht  3*9 00 

6.  Nun,  du  lebest,  unsre  Krone  28 39 

7.  Nun  sei  getrost  und  unbetriibt  27r 73 

8.  Was  traurest  du,  mein  Angesicht  289 76 


INDEX  OF  ENGLISH  VERSIONS 

This  index  contains  in  general  only  the  first  lines  of  the  translations  and  adaptations 
as  they  are  given  in  Part  II,  Chapter  II  (pp.  35-143)-  The  numbers  refer  to  the  pages 
on  which  the  general  discussions  of  the  corresponding  Gerhardt  poems  begin. 

Page 

A  Holy,  Pure  and  Spotless  Lamb  36 

A  Lamb  bears  all  its  guilt  away  I04 

A  Lamb  goes  forth  and  bears  the  Guilt   104 

A  Lamb  goes  forth — for  all  the  dues    104 

A  Lamb  goes  forth :    the  sins  he  bears   104 

A  Lamb  goes  uncomplaining   forth    104 

A  Pilgrim  am  I  on  my  way  141 

A  pilgrim  and  a  stranger  74 

A  pilgrim  here   I   wander    74 

A  rest  here  have  I  never  74 

After  clouds  we  see  the  sun  68 

Ah !    faithful  God,  compassionate  heart  65 

Ah !    Head,  so  pierced  and  wounded  86 

Ah !    Lord,  how  shall  I  meet  thee 82 

Ah !    lovely  innocence,  how  evil  art  thou  deemed  36 

Ah  wounded  Head !    must  thou    86 

Ah  wounded  Head,  that  bearest  86 

All  hail !   my  Savior  and  my  God  41 

All  hail  to  Thee,  my  Savior  and  my  God 41 

All  my  heart  this  night  rejoices   58 

All  my  heart  with  joy  is  springing   58 

As  pilgrims  here  we  wander  74 

Awake,  my  heart,  be  singing  95 

Be  glad,  my  heart !   now  fear  no  more  73 

Be  joyful  all,  both  far  and  near  61 

Be  not  dismay'd — in  time  of  need  57 

Be  of  good  cheer  in  all  your  wants  71 

Be  thou  content :   be  still  before 74 

Be  thou  contented !    aye  relying    74 

Behold  a  Lamb !    so  tired  and  faint  I04 

Behold !    Behold !   what  wonders  here  79 

Behold,  O  World,  thy  Life,  thy  Lord 42 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY  161 

Page 

Bless'd  is  he  the  Lord  who  loveth  55 

Bless'd  is  he  who  never  taketh   54 

Bring  to  Christ  your  best  oblation 79 

By  John  was  seen  a  wondrous  sight 80 

Can  I  cease,  my  God,  from  singing  69 

Can  I  fail  my  God  to  praise  69 

Christians  all,  with  one  accord   38 

Come,  and  Christ  the  Lord  be  praising   79 

Come  and  let  us  Christ  revere  now  79 

Come,  enter  Thine  own  portal  52 

Come  forth,  my  heart,  and  seek  delight  131 

Come  now,  my  soul,  thy  thoughts  engage  60 

Come,  O  Thou  Holy  Dove  52 

Come,  Thou  Source  of  sweetest  gladness 44 

Cometh  sunshine  after  rain  68 

Come  to  Thy  temple  here  on  earth  52 

Come,  unite  in  praise  and  singing  79 

Commend  thy  way  O  mortal   114 

Commit  the  way  before  thee  114 

Commit  thou  all  thy  griefs   114 

Commit  thou  all  thy  ways,  and  all  114 

Commit  thou  every  sorrow,  And  care   114 

Commit  thou  thy  each  grievance   114 

Commit  thy  course  and  keeping   114 

Commit  thy  secret  grief   114 

Commit  thy  way,   confiding   1 14 

Commit  thy  way,  O   weeper    1 14 

Commit  thy  way,  O  weeping    114 

Commit  thy  Ways   and   Goings    114 

Commit  thy  ways,  thy  sorrows    114 

Commit  thy  way  to   God    114 

Commit  thy  way  unto  the  Lord,  thy  heavy  114 

Commit  whatever  grieves  thee    114 

Creator,  Father,  Prince  of  might !   48 

Display  thy  both  wings  over  98 

Emmanuel,  Thy  name  we  sing no 

Emmanuel,  we  sing  Thy  praise  no 

(See  also    "Immanuel.") 

Evening  and  Morning  76 

Ever  by  my  love  be  owned  40 

Extended  on  a  cursed  tree  42 

Father  of  mercies !    God  most  high  66 

For  Thee,  Lord,  pants  my  longing  heart  49 

Forth  goes  a  dear  devoted  Lamb  104 

From  our  fears  and  sins  release  us  137 

Full  often  as  I  meditate   68 

Full  of  wonder,  full  of  art    (2)    79 

Full  of  wonder,  full  of  skill    (2)    79 

ii 


,6a  PAUL  GERHARDT  AS  A  HYMN  WRITER 

Page 

114 

Give  to  the  winds  thy  fears  

God  is  my  strong  salvation  

God,  my  Creator,  and  my  Lord  

Go  forth  my  heart,  and  revel  in  joy's  flow   

Go  forth,  my  heart,  and  seek  delight   (3)    

Go  forth,  my  heart,  and  seek  for  praise   3 

Go  forth,  my  heart,  and  seek  the  bliss    3 

Go  forth,  my  heart,  nor  linger  here  

Go  forth,  my  Heart !   the  year's  sweet  prime :3i 

Go  out,  my  heart,  and  pleasure  seek  l$l 

Go  out,  my  heart,  and  seek  delight  I31 

He  never  yet  has  made  mistakes  

He  sendeth  sun,  he  sendeth  shower  J4<> 

Hence,  my  heart,  with  such  a  thought  4* 

Here  I  can  firmly  rest   I2° 

Here,  World,  see  thy  Redeemer   42 

Here,  World,  thy  great  Salvation  see 42 

Holy  Ghost,  dispel  our  sadness   44 

Holy  Spirit,  Source  of  gladness   44 

How  can  it  be,  my  highest  Light  81 

How  heavy  is  the  burden  made 36 

How  long,  Lord,  in  forgetfullness  62 

How  shall  I  come  to  meet  Thee 82 

How  shall  I  meet  ^my   Savior    82 

How  shall  I  meet  Thee,  How  my  heart  82 

I  build  on  this  foundation  126 

I  give  Thee  thanks  unfeigned  86 

I  have  deserv'd  it,  cease  t'oppose  67 

I  into  God's  own  heart  and  mind 48 

I  know,  my  God,  and  I  rejoice  66 

I  know  that  my  Redeemer  lives 81 

I  know  that  my  Redeemer  lives   135 

I'll  praise  Thee  with  my  heart  and  tongue  53 

I'll  sing  to  Thee  with  heart  and  mouth  53 

I'll  sing  to  Thee  with  mouth  and  heart  53 

I'm  but  a  stranger  here  140 

I  sing  to  Thee  with  Heart  and  Tongue  53 

I  stand  beside  Thy  manger-bed   60 

I  who  so  oft  in  deep  distress  78 

I  will  sing  my  Maker's  praises  69 

I  yield  Thee  thanks  unfeigned  86 

If  Christ  is  mine,  then  all  is  mine 126 

If  God  be  on  my  side  126 

If  God  Himself  be  for  me 126 

If  God  is  mine,  then  present  things  126 

If  Jesus  be  my  friend  126 

Immanuel,  Thy  praise  we  sing no 

Immanuel!    to  Thee  we  sing,  The  Fount  .  no 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY          163 

Page 

Immanuel,  to  Thee  we  sing,  Thou  Prince  no 

Immanuel,  we  sing  to  Thee  no 

(See  also    "Emmanuel.") 

In  exile  here  we  wander   142 

In  grateful  songs  your  voices  raise  46 

In  heaven  is  mine  inheritance  126 

In  me  resume  Thy  dwelling   , .  52 

In  prayer  your  voices  raise  ye 38 

Is  God  for  me  ?    I  fear  not   126 

Is  God  for  me  ?    t'oppose  me   126 

Is  God  for  me  ?    what  is  it  126 

Is  God  my  strong  salvation    126 

It  is  a  time  of  joy  today 79 

Jesu,  my  Savior,  Brother,  Friend  136 

Jesu,  my  Strength,  my  Hope   136 

Jesu,  our  Joy  and  loving  Friend   98 

Jesus !    Thou,  my  dearest  Brother 72 

Jesus,  Thy  boundless  love  to  me  63 

Joyful  be  my  spirit  singing   58 

Joyful  shall  my  heart,  upspringing  58 

Leave  to  his  sovereign  sway  114 

Let  not  such  a  thought  e'er  pain  thee  41 

Let  the  voice  of  glad  thanksgiving 58 

Lightly  bound  my  bosom,  ringing   58 

Lo  !   Man  and  Beast  are  sleeping  98 

Look  up  to  thy  God  again  55 

Lord,  be  Thy  Cross  before  our  sight  42 

Lord  God !    Thou  art  f orevermore  80 

Lord,  how  shall  I  be  meeting    82 

Lord,  how  shall  I  receive  Thee 82 

Lord,  lend  a  gracious  ear   41 

Lord,  Thou  my  heart  dost  search  and  try  75 

Lord !   to  Thee  alone  I  raise 49 

May  I  when  time  is  o'er 57 

Mine  art  Thou  still,  and  mine  shalt  be 50 

Mortals,  who  have  God  offended   42 

My  face,  why  should'st  thou  troubled  be  76 

My  Faith  securely  buildeth   126 

My  faith  Thy  lowly  bed  beholds  60 

My  God !    my  works  and  all  I  do  66 

My  heart's  warm  gush  breaks  forth  in  mirth  53 

My  heart !    the  seven  words  hear  now   60 

My  rest  is  in  heaven ;   my  rest  is  not  here  142 

My  Savior,  how  shall  I  proclaim   42 

My  soul  awake  and  render  95 

My  Soul,  awake  and  tender   95 

Not  so  darkly,  not  so  deep  48 

Now  all  the  woods  are  sleeping 98 


PAUL  GERHARDT  AS  A  HYMN  WRITER 

Page 

60 

Now  at  the  manger  here  I  stand  98 

Now  every  greenwood  sleepeth  

Now  gone  is  all  the  rain  ^ 

Now  hushed  are  woods  and  waters  

Now  in  His  manger  He  so  humbly  lies  ^ 

Now  let  each  humble  creature 

Now  rest  beneath  night's  shadow  

Now  rest  the  woods  again   _ 

Now  resteth  all  creation   „ 

Now  spread  are  evening's  shadows   

Now  with  joy  my  heart  is  bounding j> 

Now  woods  and  fields  are  quiet  j> 

Now  woods  their  rest  are  keeping   

O  blessed  Christ,  once  wounded  

O  blessed  Jesus !    This    J7 

O  cast  away  thy  fears   

O  Christ !    how  good  and  fair  57 

O  Christ,  my  Light,  my  gracious  Savior  °3 

O  Christ,  my  only  Life  and  Light  °3 

O  Christ,  my  sweetest  Life  and  Light  "3 

O  Christ !    what    consolation    °6 

O  come  and  dwell  in  me  :3° 

O  Come,  my  soul  with  singing   53 

O  come  with  prayer  and  singing 3° 

O  enter,  Lord,  Thy  temple  52 

O  faithful  God !    O  pitying  heart  65 

O  Father !    send  Thy  spirit  down  62 

O  God !    from  Thee  doth  wisdom  flow  7* 

O  God !    how  many  thankful  songs   7& 

O  God  most  true,  most  merciful !    65 

O  God,  my  Father !   thanks  to  Thee  65 

O  God  of  mercy  full  and  free 65 

O  God !    who  dost  Heav'n's  sceptre  wield  37 

O  Head,  blood-stained  and  wounded 86 

O  Head  so  full  of  bruises  86 

O  Head,  so  pierced  and  wounded  86 

O  Heart  of  Him  who  dwells  on  high   41 

O  Jesus  Christ !    my  fairest  Light   63 

O  Jesus  Christ !    Thy  cradle  is   57 

O  Lamb  of  God,  once  wounded  86 

O  Lord !    I  sing  with  mouth  and  heart  53 

O  my  soul,  why  dost  thou  grieve  48 

O  Sacred  Head !    now  wounded  (varying  centos)    86 

O  Sacred  Head,  surrounded  86 

O  Thou  sweetest  source  of  gladness  44 

O  World !    attention  lend  it   42 

O  World,  behold  him  dying   137 

O,  World !    behold  upon  the  tree   42 

O  World !    see  here  suspended    42 


Page 

O  World !    see  thy  Creator   42 

O  World !    see  thy  life   languish   42 

Oh !    bleeding  head,  and  wounded   86 

Oh,  how  shall  I  receive  Thee  82 

Oh  Jesus  Christ !    how  bright  and  fair  78 

Oh,  wounded  head  and  bleeding  86 

On  earth  I'm  but  a  pilgrim  74 

On  thy  bier  how  calm  thou'rt  sleeping  39 

Our  Lord  be  praising,  All  His  glory  raising  51 

Praise  God !    for  forth  hath  sounded  50 

Praise  God !    revere  Him !    all  ye  men  that  fear  Him   51 

Praise  ye  Jehovah,  all  ye  men  who  fear  Him  51 

Put  thou  thy  trust  in  God  114 

Quietly  rest  the  woods  and  dales   98 


Rest  in  the  Lord,  my  soul   138 

Retake  thy  own  Possession  52 

Rise,  my  soul,  shake  off  all  sadness    58 

Rise,  my  soul,  thy  vigil  keep    98 

Say  with  what  salutations   82 

Scarce  tongue  can  speak,  ne'er  human  ken  62 

See,  bowed  beneath  a  fearful  weight  104 

See  the  sun's  glorious  light  76 

See  World !    thy  Life  assailed   42 

See,  World,  upon  the  bloody  tree   42 

See,  World,  upon  the  shameful  tree  42 

Seven  times  the  Savior  spake — my  heart   60 

Shall  I  not  his  praise  be  singing   69 

Shall  I  not  my  God  be  praising   69 

Shall  I  not  sing  praise  to  Thee 69 

Shan't  I  sing  to  my  Creator  69 

Should  I  not,  in  meek  adoring 69 

Since  Jesus  is  my  friend   126 

Sunbeams  all  golden    76 

Sweetest  Fount  of  holy  gladness    44 

Sweetest  joy  the  soul  can  know   44 

Thank  God  it  hath  resounded  50 

The  daylight  disappeareth   77 

The  duteous  day  now  closeth  98 

The  golden  corn  now  waxes  strong 131 

The  golden  morning    76 

The  golden  sunbeams  with  their  joyous  gleams   76 

The  Lord,  the  earth  who  ruleth   54 

The  mystery  hidden  from  the  eyes   62 

The  sun's  golden  beams   76 

The  time  is  very  near  57 

The  woods  are  hushed ;    o'er  town  and  plain  98 


,66                PAUL  GERHARDT  AS  A  HYMN  WRITER 
The  world  may  rise  against  me  round  


Page 
126 

.  110 

Thee,  O  Itnmanuel,  we  praise 

There  is  no  condemnation  

Thou  art  but  man,  to  thee  'tis  known   °7 

Thou  art  mine  own,  art  still  mine  own   5O 

Thou  must  not  altogether  be 3 

Thou  on  the  Lord  rely  J  *4 

Thou  pierced  and  wounded  brow  

Thou  seest  our  weakness,  Lord  :  *4 

Thou'rt  mine,  yes,  still  thou  art  mine  own  50 

Thousand  times  by  me  be  greeted  40 

Through  waves  and  clouds  and  storms  114 

Thy  everlasting  truth    T  X4 

Thy  manger  is  my  paradise  57 

Thy  mighty  working,  mighty  God X3i 

Thy  Thanks,  my  Soul,  be  raising  95 

Thy  way  and  all  thy  sorrows  l  :4 

Tis  patience  must  support  you   72 

To  God  commit  thy  griefs   IX4 

To  God  thy  way  commending  i  J4 

To  God's  all-gracious  heart  and  mind  48 

To  Thee,  Immanuel,  we  sing,  the  Prince  no 

Tranquilly  lead  thee,  peace  possessing  74 

Twofold,  Father,  is  my  pray'r  47 

Up,  my  heart !   rejoice  with  singing 58 

Up,  Up,  my  heart,  with  gladness,  Receive  44 

Up  !   up !   my  heart  with  gladness,  See  44 

Up !   with  gladness  heavenward  springing  58 

Wake,  my  heart,  and  sing  His  praises  95 

Wake  up,  my  heart,  elater  95 

We  go  to  meet  Thee,  Savior  82 

We  sing  to  Thee,  Emmanuel,  the  Prince   no 

We  sing  to  Thee,  Immanuel,  Thou  Prince  of  Life  no 

What  God  decrees,  child  of  His  love  56 

What  God  decrees,  take  patiently 56 

What  is  our  mortal  race  76 

What  pleases  God,  O  pious  soul  56 

What  pleaseth  God,  my  faithful  child   56 

What  pleaseth  God  with  joy  receive  ^6 

Wherefore  dost  Thou,  blest  of  God   5! 

Wherefore  dost  thou  longer  tarry  5I 

Wherefore  should  I  grieve  and  pine  I0g 

Wherefore,  then,  should  I  be  gloomy  108 

Who  is  so  full  of  tenderness  7g 

Why,  my  soul,  thus  trembling  ever  I0g 

Why  should  I  continue  grieving  I0g 

Why  should  sorrow  ever  grieve  me   108 

Why  should  they  such  pain  e'er  give  Thee  42 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY          167 

Page 

Why  this  sad  and  mournful  guise  48 

Why,  without,  then,  art  Thou  staying  51 

With  all  Thy  saints,  Thee,  Lord,  we  sing  no 

With  notes  of  joy  and  songs  of  praise  38 

Yes,  thou  art  mine,  still  mine,  my  son 50 

INDEX  OF  GERHARDT'S  HYMNS* 


No.  of 
English 
versions 


Goedeke  Subject  English       Page 

versions 

Cross  and 
Ach  treuer  Gott,  barmherzigs  Herz 209 Consolation  3 65 

God's  Love 

Also  hat  Gott  die  Welt  geliebt 256 John  III,  16 i 71 

Auf,  auf,  mein  Herz,  mit  Freuden 74 Easter  2 44 

Praise  and 
Auf  den  Nebel  folgt  die  Sonne 232 Thanksgiving   2 68 

Cross  and 
Barmherziger  Vater,  hochster  Gott 212 Consolation  i 66 

Cross  and 
Befiehl  du  deine  Wege 185 Consolation  18. ...  114 

Praise  and 

Der  Herr,  der  aller  Enden 120 Thanksgiving   i 54 

Der  Tag  mit  seinem  Lichte 296 Evening    i 77 

Die  giildne    Sonne 293 Morning  7 76 

Die  Zeit  ist  nunmehr  nah 142 Eternal  Life 3 57 

Cross  and 

Du  bist  ein  Mensch,  das  weiszst  du  wol 220 Consolation i 67 

Du  bist  zwar  mein  und  bleibest  mein 100 Eternal  Life 4 50 

Cross  and 

Du  Hebe  Unschuld  du 3 Consolation  i 36 

Du  meine  Seele,  singe 115 Psalm  CXLVI  i 53 

Ein  Lammlein  geht  und  tragt  die  Schuld 68 Passiontide    10 104 

Frolich  soil  mein  Herze  springen 155 Christmas    u 58 

Cross  and 

Geduld  ist  euch  vonnoten 267 Consolation  i 72 

Gegriiszet  seist  du,  Gott,  mein  Heil 46 Passiontide    2 41 

Geh  aus  mein  Herz  und  suche  Freud 239 Summer   10. .  . .  131 

Cross  and 
Gib  dich  zufrieden  und  sei  stille 274 Consolation  3 74 

Praise  and 
Gott  Lob  !   nun  ist  erschollen 95 Thanksgiving   2 50 

Gott,  Vater,  sende  deinen  Geist 173 Whitsuntide    i 62 

Prayer  and  the 
Herr,  aller  Weisheit  Quell  und  Grund 260 Christian   Life i 71 

Prayer  and  the 
Herr,  du  erforschest  meinen  Sinn 287 Christian   Life i 75 

*  This  index  includes  only  those  84  poems  for  which  English  versions  have  been 
found. 


i68 


PAUL  GERHARDT  AS  A  HYMN  WRITER 


Goedeke 
Page 


Subject 


No.  of 
English 
versions 


Page 


Herr  Gott,  du  bist  ja  fur  und  fur 3*5- 

Herr,  hore  was  mein  Mund 65. 

Hor  an,  mein  Herz,  die  sieben  Wort 161 . 

Ich  bin  ein  Cast  auf  Erden 284. 

Ich  danke  dir  demiitiglich 205. 

Ich,  der  ich  oft  in  tiefes  Leid 298. 


Ich  erhebe,  Herr,  zu  dir 93  • 

Ich  hab  in  Gottes  Herz  und  Sinn 83. 

Ich  hab  oft  bei  mir  selbst  gedacht 226. 

Ich  habs  verdient,  was  will  ich  doch 224. 

Ich  singe  dir  mit  Herz  und  Mund 118. 

Ich  steh  an  deiner  Krippen  hier 158. 

Ich  weisz,  dasz  mein  Erloser  lebt 331 . 

Ich  weisz,  mein  Gott,  dasz  all  mein  Thun 217. 

1st  Gott  fiir  mich,  so  trete 229. 

Jesu,  allerliebster   Bruder 263 . 

Johannes  sahe  durch  Gesicht 319. 

Kommt  und  laszt  uns  Christum  ehren 312. 

Lobet  den  Herren,  alle,  die  ihn  fiirchten 106. 

Nach  dir,  o  Herr,  verlanget  mich 91 . 


Nicht  so  traurig,  nicht  so  sehr 

Noch  dennoch  muszt  du  drum  nicht  ganz. 

Nun  danket  all  und  bringet  Ehr 

Nun,  du  lebest,  unsre  Krone.. 


Nun  ist  der  Regen  hin 

Nun  laszt  uns  gehn  und  treten 

Nun  ruhen  alle  Walder 

Nun  sei  getrost  und  unbetriibt 

O  du  allersiiszste  Freude. . 


O  Gott,  mein  Schopfer,  edler  Furst. . 
O  Haupt  voll  Blut  und  Wunden 

Herrscher  in  dem  Himmelszelt. . . . 
O  Herz  des  Konigs  aller  Welt... 
O  Jesu  Christ,  dein  Kripplein  ist 

O  Jesu  Christ,  mein  schonstes  Licht. 


Eternal  Life i 80 

Repentance    i 41 

....  Passiontide    3 60 

Eternal  Life 4 74 

Prayer  and  the 

. . .  .Christian   Life i 65 

....Psalm  CXLV 2 78 

Prayer  and  the 
Christian   Life i 49 

Cross  and 
Consolation  2 48 

Cross  and 
....  Consolation  i 68 

Cross  and 
....  Consolation  i 67 

Praise  and 

....  Thanksgiving   6 53 

....  Christmas    3 60 

...Job  XIX,  25-27 2 81 

Prayer  and  the 
. . .  .Christian   Life 2 66 

Trust  in  God ; 

Cross  and 
....  Consolation  7 ....  126 

Prayer  and  the 

Christian   Life i 72 

Eternal  Life i 80 

, . .  .Christmas    4 79 

...  Morning 3 51 

....  Repentance    i 49 

Cross  and 
...  Consolation  4 48 

Cross  and 
...  Consolation  i 38 

Praise  and 

Thanksgiving   i 46 

...  Eternal  Life i 39 

Gratitude 

.  .  .for  Sunlight i 37 

. . .  New  Year 5 38 

Evening   17 98 

. . .  Eternal  Life i 73 

...  Whitsuntide    2 44 

Prayer  and  the 

•  -81 Christian   Life 2 48 

••49 Passiontide   10 86 

Petition  during 

•  •  15 a    storm i 37 

•  -47 Passiontide   i 41 

•I53 Christmas    4 57 

Prayer  and  the 
•200 Christian   Life 2 63 


•  23- 

.78. 
.28. 


..17. 
..19. 
..60. 
.271. 
..76. 


AND  HIS  INFLUENCE  ON  ENGLISH  HYMNODY 


169 


Gopeadgeeke 


Subject 


No.  of 

English      Page 
versions 


O  Welt,  sieh  hier  dein  Leben 

Schaut,  schaut,  was  ist  fur  Wunder  dar. 

Schwing  dich  auf  zu  deinem  Gott 

Sei  frolich  alles  weit  und  breit 

Sei  mir  tausendmal  gegriiszet 


Sollt  ich  meinen  Gott  nicht  singen 

Voller  Wunder,  voller  Kunst 

Wach  auf,  mein  Herz,  und  singe 

Warum  machet  solche  Schmerzen 

Warum  sollt  ich  mich  denn  gramen... 

Warum  willst  du  drauszen  stehen 

Was  alle  Weisheit  in  der  Welt 

Was  Gott  gefallt,  mein  frommes  Kind. 

Was  traurest  du,  mein  Angesicht 

Weg,  mein  Herz,  mit  den  Gedanken. . . 


Wie  ist  es  miiglich,  hochstes  Licht.... 
Wie  ist  so  grosz  und  schwer  die  Last. . 


Wie  lang,  o  Herr,  wie  lange  soil 

Wie  schon  ists  doch,  Herr  Jesu  Christ. 

Wie  soil  ich  dich  empfangen 

Wir  singen  dir,  Emanuel 


Wol  dem,  der  den  Herren  scheuet 

Wol  dem  Menschen,  der  nicht  wandelt. 
Zeuch  ein  zu  deinen  Thoren. . 


Zweierlei  bitt  ich  von  dir. 


71 Passiontide   10 42 

310 Christmas    i 79 

Cross  and 

135 Consolation  i 55 

171 Easter  i 61 

40 Passiontide   2 40 

Praise  and 

235 Thanksgiving   8 69 

304 Marriage    4 79 

59 Morning 5 95 

67 New  Year 2 42 

Cross  and 

, . . . .  122 Consolation  5 ....  108 

, 108 Advent   3 51 

, 176 Holy    Trinity 2 62 

Cross  and 

,  . .  .  .  139 Consolation   4 56 

...  .289 Eternal  Life i 76 

62 Repentance    2 41 

Praise  and 

, . .  .  .324 Thanksgiving   I 8l 

Praise  and 

7 Thanksgiving   i 36 

Cross  and 

....  178 Consolation  i 62 

302 Matrimony    I 78 

25 Advent   8 82 

....  150 Christmas    n ....  no 

Prayer  and  the 

....  130 Christian   Life i 55 

Prayer  and  the 

124 Christian   Life i 54 

in Whitsuntide    6 52 

Prayer  and  the 
80 Christian   Life i 47 


84  Hymns. 


Total  number  of  English  versions  271 


, 


(•in  HIM  in II IIIH  |[|||  mil  inn  (HI  (HI 

A     000  038  320     8 


